ISME's INSIDE: DVE BUYER'S GUIDE; CHOOSING THE MONITOR …€¦ · eight satellite feeds and assign...

ISME's INSIDE: DVE BUYER'S GUIDE; CHOOSING THE MONITORPLUS: VHF; HOT TUBES; HOT TECHNOLOGY; STATION BUYING GUIDE PART III

AN ACT III PUBLICATION $3.00 AUGUST 1990

0

IntrodocingNikon Nikon

ENG/EFPLenses. I/ If

MANU

A ho t of outstandingfeatures.

Selecting an ENG/EFP lens for your 2/3" CCDcamera is a creative decision. It should belightweight, responsive and zoom smooth as silkat any speed. Its design should utilize Extra -lowDispersion Glass to minimize chromaticaberration. It should include an anti -reflectioncoating for improved spectrum transmission ratio.And it should have an advanced design thatimproves corner resolution and produces a high,flat MTF curve. In short, it should be a Nikon.

But selecting an ENG/EFP lens is also abusiness decision. And on that score we providesomething almost as compelling as Nikon quality -our unique Express Loaner Service. Simplyregister the Warranty, then in the unlikely eventyour lens needs service we'll get you a loanerlens overnight. All your investment in equipmentand crews is more secure than ever before.

A service like this is remarkable in itself.But not quite as remarkable as our lenses.

As with all Nikon products, our new ENG/EFPlenses have all our renowned quality, tradition andtechnology built right in. Our growing line is alsofully accessorized, including adapters that allow theuse of your cntire arsenal of Nikkor 35mm SLRcamera lenses for special effects.

To find out more, call or write for our completebrochure: Nikon Electronic Imaging, Dept. D1,101 Cleveland Avenue, Bayshore, NY 11706,(516) 222-0200 Ext. 324. Or call 1 -800 -NIKON -US(645-6687) for the dealer nearest you.

Nikon.ELECTRONIC IMAGING© 1990 Nikon Inc. Circle 100 on Reader Service Card.

ilLtFULLY EXTENDS TO 58"

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based on Vinten's timeless Classic' design for easy set-up in the studio and out inthe field. With features you've come to expect from VINTEN:

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Circle 101 on Reader Service Card.

With most cassettemake countless

system,and manually.When Pu thn" auto- And they thmated cassette systems,

manual labor isn't usually the first thing that comes to mind.

But fact is, some systems can create more work than they

eliminate. Especially systems that

use what we call a "Variable

Cut" method of automation.

Variable Cut systems are kindA Variable Cut systemenough to warn you about

potential problems. But you'llhave to correct them yourself. allows you to put more than one

spot on each cassette. A method of automation which at first

may seem quite efficient. But when compared to Sony's

advanced multi -cassette systems, a Variable Cut system is

actually rather labor-intensive.

To begin with, a Variable Cut system requires you to

make dubs manually. With Sony's multi -cassette systems, all

you have to do is push a button. With a Variable Cutsystem, you may have to make

And it will automatically make a lot of dubs by hand.

two dubs for you right in the machine. Secondly, a Variable

Sony Communications Pioducts Company, 1600 Queen Anne Rd., Teaneck, N 1 07666 CD W90 Sony Corporation of Americo. Sony is o registered trademark of Sony

ystems,youhave to

ubs, devise acorrect system errors.at automation? Usually by making more dubs than

you bargained for.

Cut system requires you to figure out how to file your spots on With a Sony system, however,

your cassettes. Which means you'll have to start working even tape conflicts aren't a Variable Cutsystems require

you to devise a filingbefore your multi -cassette system does. How will you classify problem. So you system before

they'll operateyour spots? By advertiser? By product type? By running time? won't have to spend efficiently.

In the end, the burden is on you.

But with a

Sony system, fil-

ing is done by the

machine. All you

have to do is load

the source tapes, With a Variable Cut system, tape wear can become a visible problem.

and the system files them. Automatically.

Lastly, Variable Cut systems tend to have diffi-

culty dealing with tape conflicts. More often than not,

their solution is just to flash a warning. Which simply

indicates that you'll have to correct the problem manually.

all your time and energy correcting them.

There are

many other ways

Sony's multi -

cassette systems

are easier to use

than a Variable

Cut system. But we don't want to belabor the point. So call

1 -800 -635 -SONY for more information. Because if your multi -

cassette system is really working, then you shouldn't be, too.

SONYBROADCAST PRODUCTS

Have you an eye for quality?

EEV LEDDICOg TUBES ARE FOR YOU.Add up the facts: UNIQUE QUALITY

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UNEQUALLED EXPERIENCECurrent EEVcamera tube design and production draws on 40 years experience in meeting the needs of

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UNRIVALLED COMMITMENTEEV's commitment to both excellence in quality and innovation in development is supplemented by its

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if you would like to know more call 1-800 dial EEV41) Leddicon is the Registered

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CANADA: EEV Canada Ltd, 67 Westmore Drive, Rexdale, Ontario M9V 3Y6 Telephone: (416) 745 9494 Telex: 06 989363 Fax: (416) 745 0618UK: EEV, Waterhouse Lane, Chelmsford, Essex CM1 2QU England Telephone: (0245) 493493 Telex: 99103 Fax: (0245) 492492

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On the Cover:Cover art by Micha Riss of M

Square Design in conjunction withAssociated Images and Video

Services Post II.Satellite photo courtesy ofComstock Inc./Comstock

Cover story begins on page 38.

42 MDSC technology is changingthe cost of UHF transmissions.

BMEsommErimmoommummrisommumENNEENNENIn mom iimomrsoommomi nommurnommosorommeEN ri ir.Trirrvirvvi 1717' IrIr717r1rrrir. aMO 1 1 1 11111 111L11111111.111 I 11 111111111 11111 1 111

MN I el 11 14 ' 11 1.111 I I I 1 MI II 1 1 1 11 11 1 I ri ril II I 1 I I IMN 111111 1 II 111 1 I 1 1 1 MI 111 I l IJI II I I I 1' 11 II 1 I II LAMN amailkillibadilliMEMINIII/ 7111111111111111.11111111. :1

AUGUST 1990 VOL. 26, NO. 8

Features

30 Monitoring MonitorsGrade 1 or Grade 2? Getting a clear picture ontoday's monitor scene means looking atfeatures, cost and your own facility's needs.

38 New Technology Buyer's Guide:Digital Video Effects DevicesOur continuing series of buyer's guides takesa peek at the dn7'ling capabilities of digitalvideo effects devices.

42 Hot TubesNew technology promises lower operatingcosts for UHF stations.

48 Station Equipment Buying 1990Television Engineering concludes itsexclusive study of purchasing trends amongTV stations. This month: the kinds ofproducts they're buying.

38 Echolab's mouse -controlled 30 Picture -perfect mon-Tempest does linear keying. itoring tbr the digital -video generation.

TELEVISION ENGINEERING/August 1990 7

Donald BellAudio TechnicianKDKA-TV2 PittsburghWestinghouse Broadcasting

Charles Fagan IllOperations ManagerKDKA-TV2 PittsburghWestinghouse Broadcasting

eauditronicz inc.Auditronics, Inc., 3750 Old Getwell Road,Memphis.Tennessee 38118 901 362 1350


"Auditronics' 900 does just whatwe need for television audio,""and does it OUR way." says KDKA's Charlie Fagan. "Other manufac-turers offered consoles, but they'd force us to conform to their wayof doing things."

"Auditronics asked, 'What do you need to be able to do?,'and we told them. 'The 900 will do it,' they said. And it does. Wewanted to be able to manage our Utah router with simple, one -buttoncommands from the console. The 900 computer does that, and givesus 64 preselect setups, with switching from live -to -live, back-to-back,different studios, different wall boxes, all without missing a cue. Andthe router interface was a simple five -wire RS -232C hookup to the900's computer." says Fagan.

"This Auditronics 900 is the best board the station has everhad," says Don Bell. "I especially like its physical layout; everything'seasy to reach. It's got all the features I need, and some added touchesother boards don't have."

Fagan says. "Auditronics' mix -minus lets us manage up toeight satellite feeds and assign them to any of 20 IFB circuits withouttieing up aux sends or sub -groups on the console.

In short, the technicians working our 900 console love it,and when they're happy, so am I."

For information on the Auditronics 900 console CharlieFagan selected for KDKA-TV2. call toll -free 1-800-638-0977. Doit today.

jelevisin EnougerintEditor In Chief

PETER CARANICASTechnical Editor

WILLIAM A. OWENSSenior Editor

JOHN F. KINGManaging Editor

T. GWEN GRIFFITHCopy Editor

JENNIFER L. GREYContributing Writers:

DAN DALEY, JOSEPH FEDELE,CLAUDIA KEINZLE,

TOM SOTEREditorial Assistant

ALLAN T. CONYER

Art DirectorDON KROGMAN

Production DirectorNICK TARTAGLIA

Assistant Production ManagerMARK MATEROWSKI

Group PublisherKEVIN J. CONDON

Northern District Sales ManagerWILLIAM P. DEY

Southern District Sales ManagerPAMELA S. VAHTER

Western District Sales ManagerDAVID DUNAWAY

Associate Circulation DirectorMARIA DI PLACIDO

Assistant to the PublisherANNE'iTt, VIERA

Sales AssistantsCHRISTINE RENEE CALI

MANDEA PERME

ACT III PublishingPresident

PAUL DAVID SCHAEFFERChief Operating OfficerROBERT C. GARDNER

Senior Vice President & Group Publisher,Technical Group

KEVIN J. CONDONSenior Vice President,

Operations and PlanningMARTHA LORINI

Director of Editorial DevelopmentPETER CARANICAS

Vice President, Finance & AdministrationSAM SCHECTER

Director of Marketing & CommunicationsJENNIFER WARE

Director of CirculationSTEPHEN F. WIGGINTONDirector of Manufacturing

CRAIG C. BALICKACT III Publishing

401 Park Ave. So., New York, NY 10016(212) 545-5100 Telex: 64-4001

Fax: (212) 696-4215Also publishers of:

World Broadcast NewsCorporate Video Decisions

Electronic MusicianMix

isBpBME's Television Engineering (ISSN0005-3201) is published monthly by

7./B PA ACT HI Publishing. BME's TelevisionVV Engineering is circulated without

charge to those responsible for television station andteleproduction facility operations and engineering,and to those responsible for specifying and authorizingthe purchase of equipment used in television facilitiesin the U.S. and Canada. These facilities include VHFand UHF TV broadcast stations, cable TV systems, TVnetworks, corporate TV operations, audio and video re-cording studios, teleproduction and postproductionhouses, consultants, etc. Subscription prices are $36one year, $50 two years. Overseas: $50 one year, $75two years. Air mail rates on request. Copyright 1990by ACT III Publishing, New York City. Second classpostage paid New York, NY, and additional mailingoffices.

POSTMASTER: send address changes to BME'sTelevision Engineering, P.O. Box 6056, Duluth, MN55806.

Columns & Departments

11 ViewpointTV engineers don't just work in broadcast anymore.Our challenge is to serve the information needs ofthem all.

14 UpdateVarian Puts TVT and Continental Electronics Upfor Sale . . . . Home Shopping Network Buys VarianTransmitters . . . Crosspoint Latch Files forChapter 11 Status . . . . Sony's Morita StressesSoftware at CES . . . . Amiga 3000 Spurs NewSoftware Development . . . . C -ARDS SystemTracks Signal Leakage

22 ATV WatchRebo's HDTV Paints the Townand Climbs Video Walls

24 Audio for VideoSPARS Conference Peers Into the Future of Digital

28 Smart SolutionsTelevision Engineering's New Column:Innovative Problem -Solving for Engineers.This month: How a New Network O&OEnlisted an LPTV Station ToHelp Reach "Out -of -Sight" Viewers

50 New ProductsThis month, Television Engineering completes itsfocus on new products uncrated at NAB.

61 Advertisers Index

62 Currents: A Guest EditorialThe Work of Chief Engineers: We Never Close

Editorial Advisory BoardJAMES BARTEL, Chief Engineer, Post Effects, ChicagoRICHARD EDWARDS, VP/Dir. of Engineering, Guy Gannett Broadcasting, MiamiNEE. FELDMAN, President, Video Post & Transfer, DallasROEERT FREY, Director of Engineering, Pacific Video Resources, San FranciscoPATRICK HOWLEY, President, Post Perfect, New YorkSTANLEY KRONQUEST, Chief Engineer, HSN Telemation, SeattleJOSEPH MAHEDY, Chief Engineer, Charlex, New YorkKENNETH D. MILLER, VP, Engineering, Capitol Video, Washington, DCROBERT MURCH, VP, Engineering, WPIX-TV, New YorkWILLIAM NAPIER, Dir. of Engineering, WBTV, Jefferson Pilot Comm., CharlotteFRED STEURER, VP, Engineering, Pulitzer Broadcasting Co., St. LouisROY TRUMBULL, Assistant Chief Engineer, KRON-TV, San Francisco


REMOTE. BUT NOT DISTANT.

Imagine remotes with field and studio crews communi-

cating as if there was no distance at all between them.

41,0 Co.L rt,EP,ONE MP.ONOPRO WPM. LS. LEA,

N.* A now. sum

Imagine your intercom systems interfacing with dial -up

phone lines. With digital auto -nulling hybrids on both

the telco and intercom paths for natural, full -duplex

communication. Without level and feedback problems.

Without installation hassles.

No missed cues. No awkward moments.

This is the Telos Link. The Link connects directly to

production intercom systems like RTS and Clear-Com.

It means smooth, efficient field operations. Fully-

remotable integration. And decidedly improved

communications.

Now go as far as you can.

With the Telos Link, it's like no distance at all.

For a ten-day, no -risk evaluation at your facility,

contact:

BradleyBROADCAST

8101 CESSNA AVENUE

GAITHERSBURG, MD 20879

TOLL -FREE: 800-732-7665

MD & DC: (301) 948-0650

FAX- (301) 330-7198


TV engineers don'tjust work in broadcast

anymore. Ourchallenge is to serve

the informationneeds of them all.

VIEWPOINT

ou're holding the seventh issue of BME's Television Engineering,the magazine we launched last February as a spinoff ofBME. And, a littlemore than midway into our first year, we're rewarded by solid reader supportfor what is surely the right idea at the right time.

This magazine's mission is to reach TV engineers wherever they work-andthey don't just work in traditional broadcasting. They move around. Thou-sands of engineers who received their training at call -letter stations haveswitched over to teleproduction facilities, post houses or corporate TV opera-tions. Hundreds of technical recruits at the burgeoning cable networks likeNickelodeon and Lifetime have migrated from the broadcast networks andfrom teleproduction. We write for TV engineers in all these environments, fo-cusing on the technical concerns they share.

To that end, we've assembled the best editorial team in the business. So thismonth, I'll take a breather from opining and give credit where credit is due.This magazine relies greatly on the expertise of technical editor Bill Owens,himself a TV engineer, who brings to our pages the perspective of our readers.Equally valuable is the contribution of senior editor John King, whose comput-er and editorial savvy give our pages much of their sparkle. Managing editorGwen Griffith, assisted by Jennie Grey and Al Conyer, keeps our systems run-ning and our grammar clean. And art director Don Krogman has given thispublication a look second to none.

Our freelance writers bring us a wealth of backgrounds. Eva Blinder, an in-dustry expert, preceded me as editor. Dan Daley, our audio -for -video writer,operates his own facility and also writes frequently for MIX, our sister audiopublication. Tom Soter and Claudia Kienzle have nearly 20 years of televisionwriting experience between them. Jim McBride has covered the NAB as a TVreporter. The members of our Editorial Advisory Board-all top engineerswhose names are listed on the table of contents-act as a steering committee toensure that we continue to respond to the shifting information needs of ourreaders and the multiplicity of developments in our business.

And what a business it is: fast -paced, financially risky but also rewarding,and increasingly global. Television engineering is at the cutting edge of tech-nology. And television engineering makes possible the instant visual expres-sion that not only communicates change in the world, but also causes it.

We have very exciting editorial plans for the months to come, so keep youreye on us. We're the only magazine in this industry that can claim to be thenewest as well as one of the oldest. Rooted in a long tradition of service and in-volvement, we're aiming our sights on a future that promises to be evenbrighter than the past.

Peter CaranicasEditor in Chief


Panasonic HasDown To

Selecting the mostcomprehensive video

production system has never been easier.The Panasonic° Professional Video ProductionSystem is designed for total systems operation inthe field, studio, editing suite and for virtually anyplayback operation.

The SVHS recording format is at the heart ofPanasonic's comprehensive video productionsystem. It provides a new level of high performanceand cost efficiency across the spectrum of videorecording and playback. One look at the numberstells it all. Five generations of signal integrity,400 lines of resolution and two-hour operation ona single cassette.

It is Panasonic performance you'll benefit from inthe field. Panasonic's compact SVHS camcordersfeature component signal technology and theefficiency of half inch cassettes. Including both

dockable and fully integrated one-piece units. Andonly Panasonic has SVHS camcorders availablewith three, two and single CCD image sensors. Soyou can specify the configuration that best satisfiesyour requirements. Panasonic lets you decidewhat's best for you.

Panasonic also captures all the details inthe studio. With CCD cameras that featurecomponent outputs to take full advantage of theSVHS recording format. And to make sure all theaction you're recording looks its absolute best,Panasonic monitors allow you to easily analyze anyvideo signal from any video source. A safeguardyou'll appreciate during postproduction andfinal playback.

You can complement the performance of SVHSwith the sophistication of Panasonic's MII recordingformat. The Mil format delivers the operationalcharacteristics you need for demanding broadcast

Video ProductionA System.

and postproduction applications. Like a luminancebandwidth of 4.5MHz, a K factor of 2% and asignal-to-noise ratio in excess of 50dB. It providesimages that equal one inch VTR5 with signalintegrity that exceeds five generations of recording.

The integration of SVHS and MII videoproduction components adds a new dimension tovideo system specialization. Because you can selectthe Panasonic components you need for thehighest degree of performance and flexibility forspecific system applications.

Panasonic SVHS and MII editing componentsprovide a host of sophisticated features designedfor virtually any application. From programmable128 event A/B roll systems with time basecorrection to highly accurate insert and assemblysystems. In addition, Panasonic speaks theindustry's language with RS -422 VCR controlinterface components and video signal transcoders

for inter -format editing.And for highly efficient playback

operation, there's Panasonic's line ofprofessional SVHS, MII and VHS VCRs, monitorsand projection systems.

Make Panasonic your choice. After all, Panasonichas video production down to a system.

For more information and your local dealer,call your nearest regional office.

Eastern Zone: (2W ) 348-7620 Central Zone: (708)9814826Southern Zone:

Dallas Region: (817) 685-1117 Atlanta Region: (404) 925-6841Western Zone:

Seattle Region: (2061285-888.3 Los Angeles Region: (714)373-7275

PanasonicProfessional/Industrial VideoCircle 105 on Reader Service Card.

as

UPDATEVarian Puts TVT and Continental Electronics Up for Sale . . . .

Home Shopping Network Buys Varian Transmitters . . . . Amiga 3000Spurs New Software Development . . . . Crosspoint Latch

Files for Chapter 11 Status . . . . Sony's Morita Stresses Softwareat CES . . . . CARDS System Tracks Signal Leakage

Varian Restructures; TVT andContinental Electronics "For Sale"

Citing the need to "match expenses with [mar-ketplace] realities," Varian Associates, Inc. ofPalo Alto, CA, has begun what it calls a "repo-sitioning," which will result in the sale of sev-eral divisions. Varian will restructure to con-centrate on its semiconductor, electron -tube,

analytical -instrument and medical -product activities.The company plans to sell Dallas -based Continental

Electronics and its Cambridge, England -based TVT Divi-sion. Continental makes AM and FM radio transmitters,antenna systems and support equipment. The TVT Divi-sion makes low- and high -power television transmitters.Several minor Varian operations will also be sold. Re-structuring costs will show up in a $74 million chargeagainst income for the third quarter-a quarter on whichVarian will report a loss.

The sale of TVT would appear to be a positive move forboth Varian and TVT. According to Bob Anderman, man-ager of business operations for TVT in the U.S., the rela-tion of Varian-EIMAC and Varian-TVT may have costTVT some business.

Anderman told Television Engineering, "While therenever has been a company mandate tosell TVT transmitters with EIMACtubes, some customers were put off bythe relationship." In addition, sometransmitter manufacturers have beenreluctant to include EIMAC tubes intheir transmitter proposals for fear oflosing transmitter sales to TVT.

Sales by other transmitter makersare important to EIMAC because ofits development of both MSDC Kly-stron and Klystrode technology. (See"Hot Tubes," p. 42.)

"The sale of TVT was inevitable,"

Varian-TVT Vista Transmitter atKVDA-TV, San Antonio, TX,equipped with MSDC Klystrons.

14 August 1990/TELEVISION ENGINEERING

said Nat Ostroff, president of Comark Communications,Inc. "Varian is a components company, and very few com-ponents companies survive when they try to get into sys-tems." Comark's new generation of transmitters utilizeVarian-EIMAC Klystrodes. "It's the old problem of a com-pany competing with its customers-the OEMs that use orspecify Varian components," Ostroff told Television Engi-neering. He believes that the sale will create more OEMbusiness for Varian.

To Bob Weirather, director of advanced marketing forHarris Corporation, the sale of TVT represents anothersign of market contraction. "It's hard to deny the facts," hesaid. "There are market segments that each of us address-es, both here and abroad." Harris specifies Varian-EIMACMSDC Klystrons for their new -generation transmitters.Weirather believes that broadcasters in the U.S. are en-tering a "replacement" phase, with interest in efficientbroadcast technology very strong, presenting solid mar-keting possibilities.

Brian Akehurst, TVT's Cambridge, England -basedmanager of marketing, said Varian's sale of the division is"opening up a new opportunity for TVT. [This move willgive TVT] the complete freedom to meet our customers'specifications." He pointed out that the current Varian-EIMAC Vista (MSDC) tubes are plug -compatible with

-those from EEV and Philips, "allowing our customers a

choice of tube options."The question of who will buy TVT may already have an

answer. TVT's managing director, John Wills, has told theBritish press that the company "will prove attractive" toprospective buyers. According to Akehurst, TVT has abacklog of orders due for delivery over the next two and ahalf years worth $34-$39 million-the largest order incompany history.

While no sales agreement has yet been reached, Televi-sion Engineering learned that at least one European com-petitor has held serious negotiations with Varian, and wasconducting a due diligence review. According to TVT's An-derman, any sale would be expected to close before the endof Varian's fiscal year in late September.

The European press has reported several companies in-terested in TVT, including Thomson-CSF, Marconi Com-munications, Pesa and Telefunken. TVT's Akehurst re-fused to confirm or deny the names of possible suitors.

To many observers, the purchase of TVT makes themost sense for Spain's Pesa Electronica S.A., for whom itwould represent a logical next step in the American mar-ket. Pesa recently purchased the video operation of3M,and announced a joint agreement with Panasonic to sup-ply facilities and technical services to NBC for the 1992

Olympics. Pesa builds low -power transmitters for the Eu-ropean market, and a TVT deal would give the Spanishcompany a line of high -power products, as well as access tothe American market for its low -power line.

Another possible combination would be TVT and Thom-son-CSF, the owner of U.S.-based Comark Communica-tions, Inc. With HDTV looking towards the UHF band as atransmission "home," that may be where the bulk of fu-ture transmitter business will originate.

Comark has made a commitment to producing onlyKlystrode-based transmitters, using Varian-EIMAC-sup-plied tubes. TVT has chosen MSDC tubes for its transmit-ters, for which EIMAC is also a supplier. Thomson's possi-ble purchase of TVT might be a means of hedging itsComark bet with MSDC tubes.

-William A. Owens

11111111111111111111111111111111111111111111111111

Meanwhile, Var-ian-TVT SellsTransmitters toHome ShoppingNetworkTVT may be on the sellingblock, but that isn't stop-ping Varian-TVT frommaking big sales. Clearwa-

ter, FL -based Home Shop-ping Network (HSN) hasplaced orders for $2 millionof transmission equipmentfrom Varian-TVT, includ-ing one 120 kw and one 240

kw Vista transmitter, eachequipped with MSDC Kly-strons.

HSN's New York CityO&O, WHSE-TV, Channel

Company News

Tektronix has worked out a deal with KikusuiElectronics Corp. regarding Tek's claim of pat-ent infringement against the Japanese oscillo-

scope maker. Kikusui has admitted infringement offive Tek patents and will reimburse Tektronix for liti-

Four presidents meet (left to right): Paul Beckham, GoodwillGames Inc.; Neil Vander Dussen, Sony Corp. of America; R .ETurner, Turner Broadcasting Company; and JohnBermingham, Sony Magnetic Products Company.

gation costs and a portion of lost profits. Meanwhile,Tektronix licensed Kikusui to continue to sell Kikusuiproducts in the U.S., but Kikusui must pay Tek royal-ties . . . Sony Magnetic Products Company, as partof its sponsorship agreement with TBS for the recentlycompleted Goodwill Games, was the sole source of vid-eotape for TV production . . Cirrus Technologies,Concord, MA, has completed its purchase of BroadcastElectronics, Quincy, MA, which will continue to oper-ate as an independent company under the same man-agement team . . . . The Society of Motion Pictureand Television Engineers (SMPTE) and the AudioEngineering Society (AES) are considering jointsponsorship of future conferences and conventions . . . .

One of the developments to watch in the '90s may bethe emergence of interactive compact -disc technology.Capitol Video, Washington, DC, has teamed up withPhilips of the Netherlands to introduce the technologyto potential users in corporate training, point of infor-mation, point of sales and information storage . . . .

Phase Two of the expansion program at Grace & WildStudios, Farmington Hills, MI, is underway. Sched-uled for completion by early next year, the constructionof new post -production facilities aims to make Grace &Wild the largest video facility in the Midwest . . . .

Abekas Video Systems will soon announce a newpresident and CEO to replace Yeshwant Kamath.


68, will receive a 120 kWtransmitter for its facility,replacing an existing Pye-TVT unit. The station willalso replace its broadcastantenna-the top 45 feet ofthe Empire State Buildingsystem-to permit circularpolarization.

Later this year, WTMW-

UPDATE

TV will hit the airwaves asWashington, DC's HSN af-filiate on Channel 14. Var-ian-TVT will provide a 240kw transmitter package forthe station.

Both stations will receivea new custom -designedtransmitter remote -controland monitoring package.

1

Multimedia Tools Compete for TVMarketDesktop video may start finding its way into more smallTV stations as personal computer -based products continueto proliferate.

While the Apple Macintosh and IBM PC -based productsbattle for the high -end desktop video market, CommodoreBusiness Machines, West Chester, PA, offers a low -end op-tion with its Amiga line and various support products. Re-cently, Commodore announced the release of its Amiga3000 machine along with the AmigaDOS 2.0 operatingsystem and AmigaVision authoring software. (Amigasrun under MS-DOS with a Bridgeboard option.)

The Amiga line was started in 1985 to develop a marketfor multimedia use of the personal computer-with thecomputer as the delivery system for corporate and educa-tion presentations. However, Commodore decided to in-clude in the Amiga the ability to output an NTSC videosignal so that the image can be integrated into tapedpro-

ductions. Because of this ability, and because the Amigacan do real-time animation sequences and synthesizespeech, Amigas have helped develop computerized weath-ercasts, cable TV programs, and ads.

Right now the Amiga 2500, exhibited in May at theTechnisphere show in New York, is the top of the line forvideo users, but the 3000 will add a 32 -bit bus and built-inscan enhancer for the VGA monitor. (Technisphere Corp.is a supplier of TV equipment; they are located at 29 E.19th St., New York, NY 10003.) Designed to be compact,the 3000 may not easily accept plug-in cards for capabili-ties such as genlock. Interestingly, a company representa-tive admits the 3000 does not yet have the expansion capa-bility of the 2500; it is expected, however, thatCommodore will add such capability to later configura-tions of the Amiga 3000.

The new Amiga gets a new operating system, Amiga -

DOS 2.0, designed to ease operation, and AmigaVision, amouse -driven multimedia authoring system, taps into themultitasking ability of the Amiga by allowing users to runprograms simultaneously. The new software is packagedwith the 3000, but AmigaVision is also available for earli-er Amigas at a retail of $149, and Commodore plans tohave a 2.0 enhancer kit for its 2000 machines ready bySeptember.

Cost savings are a big selling point for the Amigas, al-though picture quality and color capabilities limit its usefor on -air presentation. A 16 MHz Amiga 3000 (with 40Mb) retails for $3,299, a 25 MHz for $3,999, anda 100 Mbmodel for $4,499.

The Amiga can only produce 16 colors out of a 4,096 col-or palette. However, Mimetics of Cupertino, CA, sells acard, the FrameBuffer, that allows any 24 -bit RGB files tobe displayed as video on the Amiga, expanding color capa-bility to 16.8 million. FrameBuffer retails at about $550.

Mimetics is not alone in producing Amiga -basedproducts. Dave Rasmussen, Mimetics president,says, "There's a lot of software development goingon around the Amiga right now."

Gold Disk, Torrance, CA, just announcedShowmaker, which product manager David Jonesdescribes as "glue software" allowing the Amigauser to coordinate sources for video presenta-tions. Besides control of external devices (a cardis also needed to allow control of a VCR), Show-

maker permits previewing and printing of story -

boards or presentation cue sheets. Showmakerwill work with the Mimetics card. The softwareretails for $395.

By combining the Amiga with a genlock sys-tem and adding Showmaker, Jones sees broad-casters using this configuration to "rough outwhat they want to do" before sending work on to apost house. Small stations may find even morecritical uses for such a setup.

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16-John F. King

August 1990/TELEVISION ENGINEERING

Crosspoint Latchin Chapter 11Thursday, May 31, markedthe end of business for theUnion, NJ -based Cross -point Latch Corporation, amaker of productionswitchers and support gear,as the physical assets of thecompany were auctioned toprovide funds for paymentsto the company's landlordand Newark, NJ -basedFirst Fidelity Bank.

Television Engineeringcould not locate companyprincipals, and the attor-ney who represented thecompany in the bankruptcyproceedings, Vincent D.Commisa, of Roseland, NJ,refused to make any com-ment on the case.

A spokesperson for theOffice of U.S. Trustees, thepresiding officer in thecase, told us CrosspointLatch filed for Chapter 11status as a result of actiontaken against it by First Fi-delity Bank. The spokes-person indicated that thecompany's physical assetshad been "abandoned bythe company and seized bythe bank." A spokesman forthe bank, William Tozzoli,refused comment.

Television Engineeringspoke to a Crosspoint Latchrepresentative in earlyMarch and received no in-dication of a problem at thecompany. The company hadarranged for a booth atNAB, yet did not exhibit.

For both customers andcreditors alike, many ques-tions remain. All companyoperations have been ter-minated and the telephoneservice disconnected. Sincemany dealers sold theCrosspoint Latch productline, it would appear they

are the sole support for theequipment now in the field.The creditors may be inworse shape. According toan attorney familiar withthe case who prefers not tobe named, "the likelihoodof a distribution to credi-tors is remote."

-William A. Owens

Sony's MoritaSells Soft at CESUsing the keynote addressat the June Consumer Elec-tronics Show as his plat-form, Sony Corp. chairmanAkio Morita emphasizedthe need for strong soft-ware support of new con-sumer products-a mes-sage that he later tied tothe development of high -definition video.

"Hardware and softwaresynergy is fundamental-believe me, I know it now."That ironic acknowledge-ment of Sony's mistakenover -emphasis on hardwaredevelopment with Betamaxpunctuated Morita's em-phasis on a strong link be-tween entertainment andelectronics.

Morita does see new tech-nology as the driving force,the way digital is drivingaudio. "The leap from ana-log to digital technology,"he claims, "may be themost profound advancesince Edison's cylindersgave way to 78s." Beyondthe technical leap, Moritachiefly attributes the suc-cess of compact -disc tech-nology to "hardware andentertainment softwarestarting out of the gate to -

People on the Move

Masaki (Mike) Yoshida took a fast track from ap-pointment as VP of JVC Professional Prod-ucts Company in January, 1990 to company

president in April. Yoshida has worked with JVC Corp.since 1968, including a term as assistant to the presi-dent of JVC's U.S. Professional Video Division, wherehe directed the installation of its computer system . . . .

Charles Ginsburg, the man who spearheaded the devel-opment of the world's first practical videotape recorderin the '50s-the Ampex VRX-1000-has been inductedinto the National Inventors Hall of Fame in Akron,OH . . . . Bill Whitlock has been appointed president ofJensen Transformers, North Hollywood, CA, afterthe death of Deane Jensen . . . .

Ajay Chopra, co-founder andVP of engineering of PinnacleSystems, Inc., Santa Clara,CA, has been elected chairmanof the board . . . . J. TracyO'Rourke is the new chairmanof the board and CEO at Var-ian Associates, Palo Alto, CA,and James D. Benham has beenpromoted to general manager ofthe Electro Optical Sensors Di-vision . . . . The Weather JVC PresidentChannel has promoted threeexecutives as part of a corporatereorganization. Patrick C Clark assumes a new posi-tion: senior VP of finance & administration, while StanHunter is now senior VP of programming & operations,and Raymond J. Ban is now VP, director of operations. . . . Martin Gardner has been promoted to VP andelected to the board of directors of Nagra USA, NewYork City . . . . Aphex Systems, Ltd., Sun Valley, CA,appointed Hugh Wilcox VP . . . . Ed Gordon, with 30years of experience in satellite, TV and radio engineer-ing and operations, is the new director of engineeringat Varitel Video, Los Angeles, CA . . . . Gentner Elec-tronics Corporation, Salt Lake City, UT, created anew position for Elaine Jones as director of corporateprojects . . . . Powerhouse Studios, Inc., Washington,DC, added John F. Reynolds to its audio team . . . . De-signer/animator Bud Myrick has joined the graphicsproduction staff at Henninger Video, Arlington, VA. . . . John G. Campbell joins United Media, Anaheim,CA, as its director of marketing . . . . Karen Daniels,controller for Editel/Chicago since 1983, has been pro-moted to VP/controller . . . Frank Oakes takes EEV'sposition of director of business development . . . . SonyProfessional Audio appointed Clayton Buick market-ing manager.

Masaki Yoshida


gether."He notes that a similar

strategy is needed for high -definition video systems(HDVS), his renaming ofHDTV-"because to say`HDTV' is to limit the scopeof possibilities for this newbreed of entertainment."He says high -definition

et

UPDATE

technology will breed "anew generation of audio vi-sual software" and will of-fer users "new techniquesnot possible with conven-tional tape or even film."Morita also sees "furtheradvances in digital record-ing and optical media."

-John F. King

In The C-ARDSCox Cable, Cleveland, issolving signal leakageproblems with the aid ofsoftware developed by anunlikely source: the Con-solidated Natural GasCompany (CNG). DubbedC-ARDS, the proprietarysoftware package is tiedinto a computer -driven ra-dio dispatch.

Originally developedthree years ago by the EastOhio Gas Company formeasuring gas use andcharging customers, C-ARDS consists of a dispatchconsole, a station controllerand truck -based mobiledata terminals. The consoleprovides the dispatcherwith crew location and job -status information, and caninterface with a company'sbilling records. The stationcontroller uses a two-wayradio to connect the consoleto the vehicles, and the mo-bile terminals then displayprinted information. Thesetup, which can also sendand receive work orders,costs $85,000 and can behooked up with existing ra-dio networks. Outfitting atruck costs $2,350.

CNG reports that C-ARDS has speeded up re-sponse to signal leakage.

"First, field personnel di-rectly input CLI [leakage]measurements into mobiledata terminals," explainsDennis Giancola, market-ing specialist, TechnicalProducts Division of CNG."Automated tracking and

paper-work, and field personnelcan take immediate correc-tive action to solve CLIleakage problems becausedispatchers can instantlyproduce and transmit au-thorized work orders."

In addition, CNG saysthat the system will cutdown on routine servicetime since the supervisorknows the exact location ofall field personnel and canchange work schedules asneeded. "C-ARDS is a revo-lutionary technology thatwill dramatically improvethe way cable companiesservice customers," re-marks Ron Hammaker,general manager of CoxCleveland, which serves52,000 customers. "With C-ARDS, we can take care ofinstallation, interruptionsof service, and general ser-vice in a much more effi-cient manner." Accordingto Marc Jampole, a spokes-man for CNG, in the yearCox has employed the sys-tem, it has seen same -day

Equipment Sales

Multivision, Needham, MA, has added twoChyron Superscribes and a second Aurora 280to its production facilities, with the objective of

establishing a powerful digital animation suite . . . .

Quantel Paintbox V systems are now in place at NBCand ABC in New York, KHJ in Los Angeles, WBBM inChicago, Interface Video in Washington, and MusicaVideo in Houston. Meanwhile, the Stamford, CT -basedfirm now offers Quantel Care, a hardware maintenanceservice . . . . Sure Shot Teleproductions and Transmis-sions equipped its new Sure Shot One mobile produc-tion unit with Canon J55 X Super Lenses. The SureShot One completed 55 network remote productions inits first two and a half months; Sure Shot Teleproduc-tions ascribes a "production edge" to the Canon J55 Xs. . . . Timeline, New York City, delivered the first of itsLynx SSL Data Interface units to T.V. South, South-hampton, UK. Meanwhile, Timeline's Lynx Time -CodeModules have been sold to Turner Broadcasting Sys-tem, New Age Sight and Sound, and Soundscape Stu-dios. And NBC has been added to the list of West Coastpurchasers of Timeline's Lynx Keyboard Control Unit. . . . Varian TVT is reporting good results for the firstof its energy -saving VISTA series of UHF -TV transmit-ters to go on line at KVDA, a Telemundo affiliate inSan Antonio, TX . . . . Complete Post, Hollywood ismixing manufacturers with its recent purchase of anAbekas A60 to go with its Quantel Paintbox . . . . TheEditels of Chicago and Los Angeles, 525 Post, Limelite,Pinnacle Productions, Starfax and Telemation Seattleare some of the facilities that have purchased the Ac-com D -Bridge 122 in order to standardize their encod-ing process. Accom also says that over 90 DIE 125 digi-tal image enhancers have been shipped worldwide . . . .

The BBC Open University Production Centre, Walton,UK, is using six Convergence ECS-195 editing sys-tems in their off-line production suites . . . . Video -It,Los Angeles, says it can now do A/B-roll composite digi-tal post -production with the addition of a new SonyDVR-18-its third D-2 recorder . . . . Also in the D-2arena, Edit Masters, a production and post house inVoorhees, NJ, has added two Ampex D-2 VTRs....Pro-duction Masters installed Ampex VPR-300 D -2s.

repair service jump from 25to 75 percent.

"The bottom line is thatcable companies have tokeep customers satisfied inorder to enjoy continuedsuccess," Giancola con-cludes. -Tom Soter

Television Engineeringwelcomes your commentsand opinions. Write to usc/o Editor, TelevisionEngineering magazine, 401Park Avenue South, NewYork, NY 10016. You mayalso fax us at 212-696-4215.


The Lighthouse National Center for Vision and AgingWishes to Congratulate

The

vc\VISION FUND OF AMERICA

Its 1990 Honorees

David K. BarnesMidwest Communications

Corp.

William H. SmithAllied Film & Video

Its Officers, Directors & Management Council

OfficersJohn McPherson Joseph J. Olewitz Charles Van Horn Eliot A Minsker Richard Kelly

Sony Communications Products Glyn/Net Inc. ETA Knowledge Industry Publications Inc. Cambridge Associates, Inc.

Chairman President Vice President Secretary Treasurer

Management CouncilBeth Bomhurst Daniel X. Boucher Donakf Buck George F. Currie

Waldenbooks Knowledge Industry Publications, Inc. Video Services Corporation Panasonic Audio Video Systems

Group

Stewart G. Harris Janet Luhrs Thomas McCarthy Larry Mincer John O'Donnell

Citadel Motivation Inc. International Teleproduction Society JVC Co. of America Chyron Corporation Venture Group International, Inc.

James Pagliaro James Ringwood Alec Shapiro David Shefrin Charles Tepfer

Sony Corp. of America Maxell Corporation Communications Resource Network David Shefrin ti Associates Tepfer Publishing, Inc.

Dick Turchen Harriet Yassky

Communications Mktg. 8. Consulting National Basketball Association

Board of DirectorsHenry Brief Joseph Cayre Tom Demaeyer Stanley Durwood Herbert Fisher

International Tape Association Good Times/Kids Classics VCA Teletronics AMC Entertainment MGM/UA

William B. Follett James Jimirro Jules Leni Robin Montgomery Nick Nishi

Good Times/Kids Klassics J2 Communications Corrprehensive Video Supply Magnus Films Ikegami Electronics (USA) Inc.

Robert Pfannkuch Peter Pimer Daniel D. Roberts Adrian Shaw J. Philip Stack

Rank Video Services Midas Corporation Lexicon Cinergy Entertainment Sony Corporation of America

Joseph M. Swiderski III Neil Vander Dussen Steve Yuhas

Swiderski Electronics Inc. Sony Corporation of America Panasonic Audio Video SystemsCompany

John M. McDonnell, Executive Director, Vision Fund of America

Benita Roumanis, Corresponding Secretary, Vision Fund of America, do Knowledge Industry Publications, Inc.701 Westchester Avenue, White Plains, NY 10604

ATV WATCH

Rebo's HDTV Paintsthe Town and Climbs Video Walls

13N Tom Soter

Barry Rebo's thoughts on high -defini-tion were alwa lofty. In 1986, beforemost people e even aware of theprospect of -definition television,Rebo had p a hi-def productiontruck and s in New York City.He shot music deos and even a fea-ture film in H V. Now, with threeaffiliated o ations-Rebo Research,Rebo High -Definition Studio, andBRT High -Definition Network-Reboseems to be reaching his high -defini-tion plateau.

But Rebo, who just returned fromJapan to pick up the Hi -Vision '90award for his research company'swork in developing U.S. software, isnot stopping there. He is now pushinga new project called "Manhattan Mu-sic Magazine," a package of 26 half -

Barry Rebo introduces Lone StarRoadhouse for his hi-def "ManhattanMusic Magazine" series.

22

hour shows being taped in R&B, jazz,country and pop clubs. The series isproduced for the international mar-ket and is being shot with three SonyHDC-300 cameras and HD -1000VTRs. The soundtrack is recorded on24 tracks of two 48 -track Sony PCM-3348 digital audio recorders.

"We are making it as high -qualityas we can," observes Steve Dupler,Rebo Studio's VP of music, and musicproducer of "Manhattan Music.""High -definition is coming in this de-cade, and this is a way to build up a li-brary of programming. You can ex-ploit [the library] in NTSC and otherformats, and then re-release it whenhigh -definition is widely available."Dupler says it is not unlike the strate-gy of 1950s TV producers who shotprograms like "Superman" and "TheCisco Kid" in color, even though blackand white was the standard. "Theyhad the foresight to look ahead, andtherefore increased the shelf life of

their programming," he says. "Wecan do the same, releasing [the tapes]in analog now, and holding onto thehi-def masters for the future."

Rebo Studio is shooting at the clubsusing a 45 -foot Air -Ride Semi that be-longs to Effanel Music (whose princi-pal, Randy Ezratty, was involved intaping the recent "Rolling StonesSteel Wheels" special). The director isSandy Dorfman, who supervised "Topof the Pops," the BBC music series,for 16 years.

The job is made easier by the threenew HDTV cameras which Duplersays are lighter (the head is about 40pounds) and faster (in the 100-125ASA range, compared to the 60-80ASA of the older versions). "Withthese, you can model the light a littlemore or stop down and hold yourdepth of field," Rebo notes. That, com-bined with the wider aspect ratio ofhigh -definition, translates into fewercamera setups, according to Dupler.

"You can see two musi-cians interacting in one shotwithout having to have acamera covering each ofthem," he says. "It's likelooking at a show through aglass window, like you're inthe audience."

Rebo is also hoping to setup a "Rebo Software" labelby 1993, marketing pro-grams like "Manhattan Mu-sic Magazine" on hi-def la-serdisc. "There is a lot ofinterest in laserdisc technol-ogy now," he observes. "Basi-cally, it's the best picturequality you can get for homevideo. It really ties in withthings we're interested inhere. We want the best vi-suals and the best audio.With laserdiscs and compact

August 1990/TELEVISION ENGINEERING

discs, you can get both, and we havethe added advantage of mastering inhigh -definition."

Also pushing the high -definitionfront is Rebo-owned BRT Network'sHDTV closed-circuit TV network. Setup in shopping malls across the coun-try, the network's programming willbe a mix of advertising, music, sportsand other features displayed onHDTV screens placed in common ar-eas. It will carry national and localadvertising tailored to the individualdemographics of each site. BRT plansto install the system nationally inover 1,000 malls and airports duringthe next four years.

Tina Sharkey, president of BRTNetwork, says, "High -resolution mo-tion billboards will be retrofitted tothe different spaces." She has dubbedthese billboards "video walls." "Somewill be four monitors by four moni-tors," she continues, "some two bytwo, depending on the space and the

"High -definition iscoming in this decade,

and this is a way tobuild up a library of

programming." -SteveDupler, Rebo High-

Definition Studio's VP ofmusic, and music

producer of "ManhattanMusic."

architecture of the site."BRT has signed an agreement with

NFL Films for its library of sportsprogramming. "Football has national

interest," says Sharkey. "It is perfectto link with ads in a point -of -sale en-vironment like a mall."

The commercials can be shot inHDTV or upconverted, she says, andtapes and discs will initially beshipped to the malls. A 10 -hour day ofprogramming can be organized ac-cording to the different demographicgroups that turn up at various timesof the day (workers at noon, for in-stance, and teens in the afternoon).That kind of target marketing makesSharkey optimistic about success."The venue gives greater credibilityto the product," she says. "Advertis-ers can tie right into local outlets atthe point of sale."

Besides advertisers, HDTV itselfmay benefit. "We also hope the bill-boards will show the public at largehow sharp HDTV is," Sharkey says."They may have heard about high -definition, but now they can actuallysee it." II

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_11111111111.11111111AUDIO FOR VIDEO

SPARS ConferencePeers Into the Future of Digital

By Dan Daley

audio world, Nashville is some -of a paradox. Although this in -y audio city is characterized byis instrument -dominant coun-sic, digital technology here hasace with the other audio powers. Pedal steel guitars sound just

t. ngy on 32 -track digital tape asid direct to lacquer. And so, in

May, the Society of Professional Au-dio Recording Services (SPARS) heldits symposium on digital technologyin the postbellum splendor of Nash-ville's Hermitage Hotel.

Reflecting the explosive growth inthe area of digital recording, especial-ly in disk -based systems, the numberof presenters grew from an originalsix to a complement of 11. They in-cluded some familiar names: New En-gland Digital's PostPro (specifically,the new SD version), SSL's Screen -Sound, the AMS AudioFile, Studer'sDyaxis system and Lexicon's OPUS.Newer entries included Alpha Au-dio's DR2, the DAR Soundstation II,Waveframe's Digital Audio systemand the Symetrix DPR 100. BothSony Pro Audio and Otari were alsorepresented.

A look at several approaches takenat the show, along with some of thecomments made at the conference,provides an interesting picture of thestate of the art.

The two currently available top -end systems that seemed to generateconsiderable interest were the NEDPostPro SD and the SSL ScreenSoundsystems. NED unveiled its PostProSound Design version at the recentNAB show in Atlanta. It combinesthe multi -track Direct -to -Disk capa-bility of the PostPro with the compa-ny's foundation product, the Syncla-vier R3200, a 32 -voice stereosampling system with 64 Mbs ofRAM. The system also has MIDI ca-

pability for compatibility with thatnow -standard audio protection proto-col.

Since NED regards itself as the"grandfather of the industry," asNED VP Frank Sullivan told the au-dience, the company feels both a needand an obligation to participate instandardization of a field in whichvarious storage media prevent com-patibility. (For example, non -remov-able hard disk versus portable opticaldisks is one format conflict that hasdeveloped.) Sullivan stressed thecompany's inclusion of a Macintoshcomputer at the front end of the sys-

Newer entries includedAlpha Audio's DR2, theDAR SoundstationWaveframe's Digital

Audio system and theSymetrix DPR 100.

tern, reflecting the Mac's dominancein the audio domain. Also, the sys-tem's CMX edit list and serial inter-face are in step with what most man-ufacturers now support as standard.

The standardization sentiment wasechoed by other manufacturers, suchas AMS president Jim Stern, who not-ed the acrimony which has character-ized digital format standardization inthe past. Stern gave as an examplethe battle for a CD format.

To back up his statements, NED'sSullivan promised to make availablethe company's SYNCnet protocol

specifications to other members of theindustry for modification and possibleadoption as an industry standard.The SYNCnet language developed byNED allows for control of all worksta-tion functions.

Like the NED system, the SSLScreenSound workstation is hard -disk -based. The system is designedfor recording, editing and mixing dig-ital audio for off-line video and filmpost -production, and audio -for -videoediting. An optional WORM opticaldisk system is also available for creat-ing and storing library sound effects.A pen and tablet activate the system'smyriad functions. The color screen onthe ScreenSound system is laid outvery much like an audio console, withvirtual multi -function assignablefaders and other analog console func-tions such as fader grouping.

While applicable in most post -pro-duction situations, ScreenSound isaimed squarely at the film industry,as its handle connotes. The demon-stration at the SPARS conference wascentered around a few rushes fromBack To The Future III for which thesystem took SFX, modified them andsynced them to picture. Screen -Sound's ADR capabilities were dis-played live as another actress re-placed Mary Steenbergen's lines intwo scenes.

There are numerous installationsof both the PostPro and the Syncla-vier currently in place, as well as themore recent PostPro SD system, andsheer weight of numbers has givenNED a prominence in the upper endof the workstation pantheon, withSSL gaining fast in the last eightmonths (45 ScreenSound systemsduring that period). Numbers workboth ways, however, and the relativeexpense of both systems (a base priceof $129,600 for the PostPro SD and


$106,000-with WORM drive-forthe SSL system) contrasts sharplywith the less costly (and less compre-hensive) systems that are beginningto bunch up the pack.

On the other side of the coin, hard -disk limited -track systems such asthe Studer Dyaxis attempt to appealto the CFO as much as to thechief engineer. Over 300 ofthe two -track systems havebeen delivered so far, accord-ing to the company, and theDyaxis 2 + 2 four -track sys-tem is now available. Whilethe system's literature at-tempts to position it for allconceivable applications, itslimited number of tracks,counterbalanced by its Mac-intosh interface and widetime -code and sync capabili-ty, probably make it most at-tractive to small- and medi-um-sized jingle and voice-over facilities that havelimited expansion capital,but a strong desire to get intodisk -based digital audio. The15 -minute two -channel Dyaxis sys-tem without a Macintosh computerstarts at $10,000; the two-hour 1.2 Gbhard -drive system costs $25,000, alsowithout the Mac. The four -track 2 + 2system with 30 minutes per channelstarts at $25,000; the two -hour -per -channel system runs about $40,000.

The rate at which digital disk re-cording enters the industry will varyaccording to client needs and the abil-ities of facility owners to finance thetransition. While full -function work-stations like the PostPro SD andScreenSound appeal to larger facili-ties able or willing to invest quicklyand deeply in workstation technol-ogy, systems like Dyaxis allow stu-dios to get their feet wet less expen-sively. Tore Nordahl, president ofStuder Revox America, predicted thatmultiple formats-like the StuderDyaxis-will be around for sometime, with two- and four -track sys-tems at first growing fastest.

Audio is no more immune to formatconflicts than video is. It's hard to ar-gue with Otari VP John Carey whenhe says, "Customers will be casting

their votes with their dollars." "It'sgoing to be scary," he added, for awhile, as this nascent industryshakes itself out. Carey foreseesmuch of this equipment finding itsway into studios on a modular basis."Current [recording] equipment is notlikely to wind up in the garbage any

Executives from Studer Dyaxis,NED, Sony Pro Audio, Waveframe andOtari were among the panel membersat SPARS May digital audio conference.

time soon," he noted. "There is a needto put digital into studios in stages."

Jeff Bloom, sales and marketingmanager for SoundStation II manu-facturer DAR listed several areas inwhich the field will have to standard-ize itself to one degree or another. Themain one was the format for opticaldrives for storage, which Bloom saidwill be dependent to a large degree onthe types of computer operating sys-tems these disk -based systems em-ploy. Mack Leathurby of Opus manu-facturer Lexicon pointed up thedependency of the studio industry onthe tacks taken in the future by thecomputer industry as far as opticaldisk development goes, although henoted that removable high -densityhard drives will also be a factor.

Amidst all this talk of technicalspecifications, several manufacturersmade a point of addressing the hu-

man aspect of this technology. StevenSt. Croix, system developer for Syme-trix's DPR100 (which raised as manyeyebrows as it did expectations at theconference) said that "the real -worldhuman has to get into the virtualworld." St. Croix wants to see systemarchitecture more openly designed in

the future to accommodate unantici-pated user demands.

Courtney Spencer of Sony said hebelieves that human interfaces needto go beyond the computer -orientedtacit limits of the QWERTY keyboardand address audio on more familiarterms, perhaps by using more con-sole -like representations of controlsurfaces. (The SSL ScreenSound cer-tainly seems to be the most evolved inthis department.)

Pete Caldwell, incoming presidentof SPARS and president of DopplerStudios/Atlanta, commented: "Thisconference-and the recently height-ened level of awareness-gave peoplea new perspective. For the first time,people became aware of just how dif-ferent some of these systems are."Caldwell feels that manufacturersmust make "a major philosophicalcommitment [towards] the standard-ization of information transfer andcontrol."

Dan Daley is a New York City -basedfreelance writer specializing in audiotechnology.


r:i) 1990 Sony (of porotton of Arnefico Sony ,s o regrstered rodemork

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Network O&O Enlists LPTV StationTo Reach "Out -of -Sight" Viewers

By William A. Owens

Think of it. With the press of onen switdd your station just lost

1.2 'Ilion potential viewers. Whatwoul you do?

Co mercial broadcasters live bythe mbers. The higher the numberof vi ers, the higher the card rates,the her the income. What manage -men r, ould toss aside 1.2 million po-tential viewers? CBS did.

After the dust settled in the sta-tion-trading/network-swapping dealsthat savaged the Miami, FL, marketlast year, WCIX-TV, Channel 6 wentfrom independent to CBS O&O. Yet ithad the market's weakest signal,barely viewable in the northern endof the market, home to those 1.2 mil-lion potential viewers. It was a situa-tion that clearly did not live up to theimage or the intent of CBS-a situa-tion that called for a smart solution.

Born in 1967, WCIX-TV was the re-sult of creative engineering-a sta-tion "shoehorned" into the Miamimarket. Its problems really date backto the sign -on of what is now WCPX-TV, Channel 6, in Orlando, on July 1,1954. That station, a CBS affiliate,was granted the first of three Chan-nel 6 allocations the FCC would issueto Florida stations. WCTV-TV, thesecond Channel 6 allocation and an-other CBS affiliate-assigned to Tal-lahassee, FL/Thomasville, GA-reached the airwaves on September15, 1955. WCTV, at the northern endof the state, would pose no problemfor WCIX-TV. WCPX, however,broadcasting in the central part of thestate, was a different story.

Until 1967, Miami, FL, was an all-

VHF market, with three commercialnetwork affiliates plus an educationalstation. An independent UHF, nowWLTV, Channel 23, would changethat status on November 15, 1967.Signing on just two years after the

implementation of the so-called "All-Channel Receiver Act," which was in-tended to place VHF and UHF sta-tions on an equal footing, WLTVwould suffer the fate of many UHFstations of the era, including low rev-enues and several changes of owner-ship.

Rather than apply for a UHF li-cense, the folks who put WCIX-TV onthe air sought to squeeze a VHF sta-tion into the market, and found Chan-nel 6 to be technically feasible, withsome limitations. WCPX-TV, withstudio and transmitter then in Orlan-do, was just far enough away to allowa Channel 6 assignment in Miami ifthe new station's transmission facili-ty was carefully placed.

But WCPX-TV was not the onlylimiting factor to be considered. In or-der to protect WPTV, West PalmBeach's Channel 5 licensee, whichhad gone on the air August 22, 1954,WCIX-TV needed to locate its trans-mission plant at least 75 miles dis-tant from that of WPTV. The site fi-nally selected was in Princeton, FL,

As an independent,Miami's weak -signalled

WCIX-TV was able toconcentrate on areascloser to home. As the

new CBS O&O, it neededto find a way to breakthrough to 1.2 million

Broward Countyviewers.

19 miles south of Miami.The Miami ADI extends from the

Florida Keys in the south up to thenorthern Broward County line, andfrom the Atlantic Ocean into the Ev-erglades. Most of the population livesin communities hugging the Atlanticcoastline. The antenna farm used bymost of the local stations is almostdead center in the marketplace.WCIX-TV's transmitter site is ap-proximately 30 miles south of the an-tenna farm, at the southern end of theADI.

Florida's complicated weather addsits own little twist to the situation.Although many folks in the Ft. Lau-derdale area can't pick up Miami'sChannel 6, up at Bithlo, 30 miles eastof Orlando, now the site of WCPX-TV's transmitter, it's a different sto-ry. According to Bob Diehl, chief engi-neer of WCPX-TV, on a warmsummer night with thermal inver-sions, once WCPX-TV signs off,WCIX-TV can come blasting throughthe WCPX-TV demod.

All these factors have contributedto WCIX-TV's intentionally weak sig-nal in Broward County, where ap-proximately 1.2 million of the mar-ket's television viewers live.According to WCIX-TV's director oftechnical operations, Bernard Wim-mers, the weak signal problem wascomplicated by "considerable power-

line and FM interference." As an in-dependent, WCIX-TV could concen-trate on areas closer to home. As thenew CBS O&O, it needed to find away to break through to those 1.2 mil-lion viewers. And so a smart solutionwas born.

As CBS was preparing to take overWCIX-TV, Skinner Broadcasting wasgetting ready to put low -poweredChannel 27, on the air in Ft. Lauder-dale. At 300 feet, with an ERP of 70.3,


0E.

Channel 27 covers most of BrowardCounty with excellent signal quality.A deal was struck, and Channel 27became a full-time satellite of WCIX-TV, retransmitting the entire Chan-nel 6 program schedule (not just CBSprogramming) into the northern endof the Miami market.

Channel 27's president J. RodgerSkinner told Television Engineering:"I know of no other situation like thisin the country. This is unique; a full -

"This is unique; a full-

power broadcasterworking with a low-

power broadcasterto cover an other-wise unavailable

portion of amajor market."

-J. Skinner, Channel27 president.

power broadcaster working with alow -power broadcaster to cover anotherwise unavailable portion of amajor market."

Channel 27 receives its "network"feed via microwave from WCIX-TV,and rebroadcasts using twin Emceetransmitters, with one configured asa "hot standby." Because of the excel-lent quality of the signal, most of thelocal cable companies have Channel27 serve as their CBS outlet, ratherthan trying to pick up the weakerChannel 6 signal directly.

As a "smart solution," this one isworking well. According to WCIX-TV's Wimmers, Channel 27 "has beenextremely helpful [in providing cover-age] in Broward County, with [WCIX-TV's] ratings improved considerably."The satellite has been so helpful thatWCIX-TV has applied for its own low -power license, Channel 55, to fill in

TELEVISION ENGINEERING/August 1990

another viewing gap in the area.For all concerned, it appears to be a

good deal. While neither CBS norSkinner would discuss the financialarrangement, Channel 27 clearly hassolid programming and financial sup-port. WCIX-TV has the additional au-dience it needs to compete effectivelyin the Miami market. And the folks in

Broward County have crystal-clearover -the -air reception of "Dallas,""Murphy Brown" and "Rescue 911."

FiorEda has three Channel 6 assignments:Taltalussee, Orlando and Miami. TheACM -TV tower is at the southern end ofOw Miami market.

Tallahassee -WCTV

GULFOF

MEXICO --T

Orlando--

ampa

ATLANTICOCEAN

Bithlo -WCPX

1

WCIXPrinceton Miami

29

MONITORING

MONITORS En:

Grade 1 or Grade 2?Getting a clearpicture on today'smonitor scene meanslooking at features,cost and your ownfacility's needs.

moni-tor tellsyou

the

truth,or it isnot per-form-ing the

function of a monitor," says JohnMcClimont, broadcast sales managerfor Conrac. "A Grade 1 broadcastmonitor has no sound or channel se-lector, but it can cost $10,000. Andthe picture can look terrible becauseyou're going to see all the dropouts,the tape tension errors, the accumu-lated noise from the tape, and the ap-palling lack of resolution."

Selecting the right monitor for yourfacility requires careful research ofthe types available, their featuresand their cost. Also necessary is aclear understanding of how your mon-

itors are used, be they "engineering"or "production" monitors. The usagedetermines the quality level neces-sary, and the price you pay.

"A Grade 1 monitor is one whichwill accept an encoded signal and dis-play it as is without distorting thepicture in any way, so the engineerscan evaluate it," says Mark Kogure,product manager of display productsfor Sony. To qualify for Grade 1, mon-itors must meet the highest standardsof performance and reliability possi-ble with respect to phosphors, black -

Sony BVM-1912 19" color monitor features900 lines of horizontal resolution.

level stability, and color uniformity.Grade 1 broadcast monitors typicallyfall into the $6,000 to $10,000 pricerange.

Grade 1 monitors may be more"monitor" than you need or can af-ford. For many applications, such asproduction studio use, or for on-lineand off-line editing, Grade 2 monitors


are a good alternative."Grade 2 monitors have lower reso-

lution, lower convergence specifica-tions, and many have consumer -grade phosphors," Sony's Koguresays. "Broadcasters use Grade 2 mon-itors to see the content of the picture."Grade 2 monitors, sometimes referredto as "professional," usually range inprice from $1,000 to $3,000.

GRADE ONEGrade 1 monitors must have SMPTE"C" phosphors coated on the picturetube. These phosphors are held to atightly controlled tolerance, so thatcolors on monitor A will match colorson monitor B. "With a SMPTE Cphosphor compound, a color will bereproduced accurately on several dif-ferent monitors, regardless of wheth-er they were purchased at differenttimes," Conrac's McClimont says. Inaddition, monochrome Grade 1 -equiv-alent monitors, such as the Conrac#2660-C15, will match the mono-chrome image produced on a SMPTEC color monitor because of the uni-form D6500 phosphor compound.

Grade 1 monitors have a high sta-bility in the black level, meaning thatthe monitor won't drift, which en-sures an accurate reproduction of thepicture every single time. In addition,all major manufacturers of Grade 1monitors have some type of feedbacksystem to evaluate the condition ofthe tube and compensate for it.ASACA/Shibasoku uses a Beam De-tection Feedback System in all itsmonitors. Sony monitors have anAutomatic Beam Current FeedbackSystem (A.B.C.).

"The A.B.C. system on the Sony'sBVM monitors guarantees color tem-perature stability by comparing theinput to the cathode with the outputof the kinescope. This comparativenetwork checks for and compensatesfor any changes caused by the agingof the CRT," says John Studdert,Sony's manager of broadcast moni-tors.

Sony BVM 1910s are used at Edi-tel/Chicago. "Consistency, reliabilityand accuracy are all very important

to us," says Mark Adler, chief engi-neer at Editel. "The 1910 seems tohold up well over time, and seems tobe pretty accurate. It doesn't need alot of adjustment."

Grade 1 monitors usually deliverbetter than 500 lines of resolution.The pitch of the picture tube, measur-ing the spacing between the phosphordots and the aperture openings of themetal grille, will be less than or equalto .32mm for 14" and less than or

Grade 1 monitors, offers a high de-gree of resolution and reliability. Ac-cording to McClimont, "The highest -resolution graphics monitors all havein -line guns." Conrac's Grade 1 colormonitors, the 6545-19 (19") and 6545-13 (13"), both feature the in -line gun.

At Modern Videofilm in Los Ange-les, ASACA/Shibasoku's delta -gun -equipped 19" CMM 20-11 color moni-tors are used in the telecine bays andquality -control areas of the facility.

MetroLight Studios: An Interactive Solutionfor Going from RGB to NTSC

RGB monitors are an essential tool for judging the color quality and de-tail of graphics, special effects or computer animation on video. Theygenerate 1,000 -plus lines of resolution, and 256 shades each of red,

green and blue for a total of over 16 million hues. However, when the finalproduct is ready for broadcast, it must be encoded to NTSC,meaning 500 -plus lines of resolution and limited color possibilities. Making the video sig-nal look as good in NTSC as it does in RGB requires making a number ofcomparisons, and then alterations to improve the look of the encoded signal.

At MetroLight Studios, a high -end computer animation facility in LosAngeles, a Sony BVM-1910 color monitor (RGB-/NTSC-switchable) is usedin conjunction with IRIS -3130 and 4025TG Silicon Graphics workstations.The files, generated on the IRIS, are sent to an Abekas A60 which feeds abank of NTSC monitors via Faroujda encoders. "Though we look at RGBduring the modeling, choreography and test -rendering of the image, wereally do have to look at it encoded in NTSC," says Tom McGovern, directorof production for MetroLight. "Then we go back to the RGB monitor at theworkstation and make the adjustments necessary to improve the picture."

Interactive software, designed in-house by MetroLight, helps compare theRGB and NTSC images and make color changes interactively. "With thissystem, the RGB image appears encoded in the lower left corner of theNTSC monitor. After you identify the color you want to change by grabbingit with the mouse, you fine-tune it by pushing sliders around until it's thecolor you want," McGovern says. "Then you just compute with that color."

equal to .44mm for 20". The morephosphor dots there are on the screen,the better the resolution. Color uni-formity and luminance must alsomeet high standards in order for mon-itors to match.

There are two basic types of CRTsbeing manufactured for Grade 1 mon-itors. The most basic difference be-tween the two is that the in -line gunCRT has its three guns configured ina horizontal line, and the delta gunhas three guns arranged in a triangle.The in -line gun, found now in most

VP of engineering Al Hart says, "Ourmonitors are five years old, and we'refacing a tough decision right now.The delta -gun tube is becoming lessavailable because everyone is switch-ing over to the in -line gun. We'velooked at monitors with the in -linegun, however, and we have found thatthe apparent resolution is lower thanthat of the delta. The manufacturersassure us that new in -line tubes havethe same resolution as delta tubes.However, in our applications, we canstill see a difference."


S = Standard0 = OptionalN = Not Avail.A = Avail.

GRADE ONE(Color) -'b

C+

4

/sr

?frr*

sdes

NotesASACA/ CM 93A1 20" 0 S S N N S S S S S 600 A 0 S CalibrationSHIBASOKU CM 95A1 14" Output Signal

Remote/BARCO CVS 51/IH 20" S S 0 N 0 S S S S S 900 A S S Controllable

Serial Interface

PANASONIC AT H1900 19"AT H1300 13"

0 5 S S N S S 5 5 5 600 A 0 S PAL Only

SONY BVM 1910 19" 0 5 5 N 0 S S S S S 900 0 0 S

IKEGAMI 9 SERIES 19"N 0 0 N 0 S S S S S 700 A N S Pulse Delay

CONRAC 6545-19 19"6545-13 13"

S S 0 N 0 S S S S S 800 A S S PAL Only

GRADE TWO (Color)

BARCO AVM -37 15"N S S S N S S S S S 625 A S N Only GR.2 WithAuto Set -Up

JVC VM-R190SU 19"N S S S N S N S S N 600 A N N

SONY PVM-1344Q 13"SMPTEPVM-1944Q 19"

NS S SNS S S SN 600 A N S "C" Phos.+ A.B.C. Feedbk

PANASONIC BT-D1910Y 19"N S 0 S NS S S S N 550 A N N

VIDEOTEK AVM -13s 13"N N N S N S S S S N 450 A N N

This chart is based on information supplied by the manufacturers at the time this article was prepared for publication. For updatedspecifications, contact manufacturers' reps or dealers.

GRADE TWO"When it comes to buying big expen-sive monitors, there's no need (forthem) outside your critical monitor-ing areas," says Karl Renwanz, VP ofengineering and operations forWHDH-TV, Boston. Renwanz told us,"[We are] buying much less expensivemonitors now than we once did. Therevenue stream for television is no-where near what it once was, and thegrowth isn't there anymore. You haveto be more budget -conscious."WHDH-TV has 10 high -quality Ike-gami TM20 monitors in the signal-

monitoring areas and control rooms.Renwanz pointed out that his stationhas an additional 150 lower -cost mon-itors to serve the station's 21 editbays and six multiformat machine

rooms. He adds, "If you buy 15 high -quality monitors at six grand apiece,that's $100,000. I can't spend thatkind of money on monitors!"

A wide range of monitors is avail-able from JVC Professional Products.The JVC VM-R1905U 19" color moni-tor offers NTSC, RGB analog, MII,Betacam and S -VHS inputs, and israck -mountable. "The input selec-tions on this monitor make it veryversatile, and at 600 -plus lines of res-olution, it's perfect for the studio con-trol room to complement your Grade 1monitor," says JVC's Ellin Everson,manager of advertising and sales pro-motion. The JVC TM-R14U 14" colormonitor accepts NTSC and RGB ana-log inputs, has 400 -plus lines of reso-lution, underscan, and is suitable for

on-line editing. The JVC TM -2084U19" color monitor has 350 lines of res-olution, and can be used for off-lineediting or to take a feed from a cam-era.

Panasonic markets the BT series ofmonitors through its Audio VisualSystems Group. These include theBT-D1910Y and the BT-S1900N.Both 19" and 13" versions accept com-posite NTSC, RGB, Super -VHS andBetacam inputs. Both monitors fea-ture 550 lines of resolution, internal/external sync, pulse cross, underscanand blue -only, and are rack -mount-able. Panasonic's Terry Gardner,marketing manager, ProfessionalVideo, Audio/Video Systems Group,told Television Engineering, "Thesemonitors are ideal for studio use and


MONITORING MONITORS

NC TOR, SPECSTIME;N MENU

Above: Barco AVM -2210" and AVM -70 28" color monitors feature auto alignment using the Barco light probe (closeup). Below, top:Conrac 2660 RS15 color monitor; bottom: JVC VM-R140SU.

for dubbing and editing functions."According to Eric Wahlberg, mar-

keting manager for Videotek, hiscompany's RM-8 8" is widely used bythe major networks for ENG newsgathering. The AC/DC portable colormonitor is TV line- or VTR -selecta-ble, rack -mountable, and delivers 280lines of resolution. Standard featuresinclude video and audio inputs, andblue screen, with pulse cross and un-derscan available as options. Video-tek's AVM-13sv 13" color monitor of-fers 450 lines of resolution, and twocomposite video, two audio and a Su-per VHS input. "The AVM-13sv iswell -suited to off-line editing andVTR playback because it has audio,underscan and internal/externalsync," says Wahlberg, adding, "The

TELEVISION ENGINEERING/August 1990

AVM -19s has all the same features,with the 19" screen making it a goodchoice for playback to large groups."

Jack Mann, marketing manager forSony's professional display products,says his company's PVM 1342/1344Qand 1942/1944Q monitors are theonly Grade 2 monitors offeringSMPTE "C" phosphors. Mann told usthe benefit to users is compatibilitywith higher -priced monitors, adding,"Quite often you have to match thepicture on the professional monitorwith the Grade 1 image, and if youhave different phosphors, there'll bedifferences in the way the pictureslook."

In addition to SMPTE "C" phos-phors, the PVM 1942/44Q series alsohas Sony's A.B.C. feedback system.

33

MONITORING MONITORS

"When people buy higher -cost moni-tors, they may think about future re-placement of the tube when it'sworn," Mann says. "But when peoplelook at Grade 2 display devices, theydon't think about how long it's going

to last or what it's going to look likein two years. With A.B.C. feedbacktechnology, the life of the tube is ex-tended."

According to Mike Faletti, NEC'sproduct specialist, the NEC Pro Sys -

89TH AUDIO ENGINEERING SOCIETY CONVENTION

SEPTEMBER 21-25,1990 LOS ANGELES, CALIFORNIAAUDIO EXHIBITS, TECHNICAL PAPERS, WORKSHOPS

TECHNICAL TOURS AND MUCH MOREAt the LOS ANGELES CONVENTION CENTERAUDIO ENGINEERING SOCIETY 60 E. 42nd Street, New York,NY 10165 (212) 661-8528 or (800) 541-7299 (except NY)

tems PM 1971 19" color monitor "isnot a high -resolution or Grade 1 -quality monitor, but it will give you adecent picture of what's on cameras 1and 2. It delivers 450 lines of resolu-tion." Faletti adds that the monitor isa cost-effective choice for previewinga shot, for off-line editing, or for let-ting clients view production in pro-gress. The NEC #PM -971, a 9" ver-sion, is also available.

"The Ikegami 16 series [theTM1416R, a 14" Grade 2 color moni-tor] has been very reliable for us,"says Joe Paciorkowski, chief engineerat WMUR-TV, Manchester, NH."You can take three or four of thoseIkegamis and set them next to eachother, and [the picture] looks thesame. They're very consistent. Andthey don't break."

AUTO SETUPMany of today's high -quality broad-cast monitors offer automatic setup asa standard or optional feature. Amonitor equipped with auto setup canbe aligned in 30 seconds, even by anontechnical person. The auto setuplight probe, which attaches to thescreen, reads the color temperatureand feeds the information to a storagearea in the monitor. If the new infor-mation differs from the pre-set colorvalues, the setting is automaticallyadjusted. "Engineers manually adjustmonitors for chroma and phase potsuntil they get the right relationshipbetween the two," says Sony's Stud-dert. "Auto setup makes matching allthe monitors in your facility a mucheasier task."

Using the probe and the "calibra-tion output" of the ASACA/Shibasoku(auto setup) CM 93A1, you can alignan auto setup monitor directly to amaster monitor, even if the masterdoes not have auto setup. "If you usethe internal signal generator to set upeach auto setup monitor independent-ly, you're referencing it against itself,not against the monitor you considerto be your master," says ASACA'sJohn Clemens, service engineer."There are going to be variances be-tween each of those different moni-

34

tors. So the only way to get a truematch is to align the monitors direct-ly to the calibration output of themaster monitor."

Barco's CVS Series (Grade 1) moni-tor and AVM Series (Grade 2) moni-tors offer automatic setup as a stan-dard feature. When customers beganto demand auto setup, Barco took theopportunity to design a Grade 1 colormonitor that could do more than justshow pictures. The Barco CVS has abuilt-in, menu -driven character gen-erator which displays the status ofthe monitor's settings, including in-put source identification. When usedin conjunction with Barco's BVRS16 x 16 routing switcher, the monitorwill display the input/output configu-ration of that router. The monitor'sauto setup, the input selectors, andthe routing switcher can all be con-trolled by a Barco SMRC remote-con-

Ikegami Series 15 monitor features autosetup.

trol device.A microprocessor "center" provides

circuitry boards for the power supply;for NTSC, PAL and SECAM standardinputs; for an RGB amplifier; for D-1and D-2 (optional) boards; and for (op-tional) Betacam, Y/R-YIB-Y or Y/I/Q

inputs. Barco customers are able toconvert their monitors to D-1 by in-stalling D-1 boards without having toreplace the monitor or send it back toBarco.

Ideally, when shopping around fora broadcast monitor, you should see ademonstration of the product, prefer-ably using familiar program materi-al. "Someone can put up a beautifuldigital color pattern, but you don'tknow if some kind of processing wasused to clean up any noise in the pic-ture," says ASACA's Clemens."You're looking for a monitor thatwill be as transparent to the signal aspossible, while offering you the bestpicture quality. Specs are one thing,but seeing the live picture is reallyanother."

Claudia Kienzle is a freelance writer andformer television producer.

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TELEVISION ENGINEERING/August 1990 Circla 108 on Reader Service Card. 35

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TECHNOLOGY

BUYER'S GUIDE:

DIGITAL VIDE I FFEGTS

DEVICESWhen buying equipment, you may of-ten start with the question, "What dowe need?" Establishing needs is thesafest way to start most shoppingsprees. However, with today's com-puter chips making it possible tocram many capabilities into one box,you may want to do a little "window-shopping"-to see what some prod-ucts can do. That way, you may dis-cover more needs, or find out that youcan cut costs on achieving currentneeds.

Digital effects devices fall into the"Let's -see -what -they -can -do" catego-ry. These devices provide much of thefun of working with video images,and, in the hands of an artistic andcapable operator, can give your videotransitions the special something toset your programming or productionsapart from the competition. Browsingthrough the capabilities of these ma-chines can set off many ideas-ideasyou hadn't thought of before. And justas importantly, a "live tour" of prod-ucts will help you cut through producthype to see exactly what you will getfor your money.

While this guide can provide a goodstarting point, the only way to knowwhich device fits your needs is to getyour hands on one-and play. Then,of course, there is your budget to con-sider. But, thanks again to the prolif-eration of those tiny, powerful com-puter chips, some of today's smaller

Our continuingseries of buyer's

guides takes a peekat the dazzling

capabilitiesof digital videoeffects devices.

By John F. King

DVEs can give you a lot of effects fornot so much cash. If you need ex-tremely sharp images with outstand-ing picture quality, though, you'llhave to spring for a high -end box thatprocesses pictures in the 4:4:4 or4:4:4:4 digital domain and includescomb filtering.

The chart that accompanies this ar-ticle compares 20 products in terms of13 effects and three key features wechose to identify. When more thanone product was offered by a maker,we focused on the two most recent-one from the high end and one fromthe low end. Effects and features wereselected by Bill Owens, our technicaleditor, who provided a tremendous as-sist in sorting through the mosaic ofproduct literature on DVEs. Thechart does not list options for the de-vices named, nor do we have enoughroom to describe all of them. There-fore, it's wise to get in touch with thevendors to find out exactly what isavailable for each product.

SO MUCH TO CHOOSE . . . .Shopping for a DVE can be a littlelike shopping for a car, with so manymodels and extra features amongwhich to choose. Here, alphabeticallyby maker, are some of the options of-fered.

The Abekas A53 -D, which can beconfigured for composite or compo-nent digital, has an optional plug-in


board that makes it possible to dowarps. A Key Channel option, whichprovides a full -bandwidth, eight -bitkey processor, is also available. AtNAB, Abekas introduced corner pin-ning-which allows you to lift onecorner of an image and pin it any-where on the image-for the A53 -D,as well as a Solid Builder option. Bothcapabilities are possible throughSPORT, a package of applicationsthat runs on an external computer.

Alta offers their familiar Pictoriswith EDE-Pictoris keyboard upgrade,which adds strobe, rotation, fourautomatic transitions, five user pre-sets and a datacard for external stor-age of effects.

The Ampex composite digital ADO -100 can include optional 3D effects, aswell as a package of "Image Innova-tor" effects. There is a component dig-ital ADO -100, as well as a componentanalog version. In addition, a CCIR-601 digital Video Interface upgradekit can convert analog ADO -100s tocomponent digital performance, andanother kit will upgrade analog com-posite to analog component. Many op-tions are offered for the high -endADO -3000, including the Infinitymultichannel effects package andthe Digimatte key signal manipula-tor.

The CEL Maurice, which is actual-ly a universal touch -screen controller,can be purchased with one to fourchannels. If you have a four -channelbox, then the DVE software thatcomes standard with the Maurice al-lows you to achieve a cube effect, ac-cording to a CEL representative. Inaddition, a still -store box can be add-ed as an option, and the DVE soft-ware will let you control the store.

Digital F/X's Composium is actual-ly a workstation that combines DVEcapabilities with painting, mixing,storage and editing. Configured as anedit suite, it can include many optionsand upgrades.

Component versus composite is anissue that the DSC Eclipse 5500CCaddresses by providing users with achoice of composite or component in-puts and outputs. Digital effects for

the Eclipse can be enhanced with theEFE 1000 package, the KYM 200 keymanipulation option, the PGT 100page turning option, or the CVE 200package of curving effects.

Options for the Echolab Tempestinclude key channel, digital chromakey, perspective, curving and an ex-tender card.

Electrohome plans to soon have 3D -and graphics -capability upgrades forJazz.

Hardware options for the For -A 740are an A/B roll -editing controller andan audio switcher. Dual channel ef-fects are possible for the MF-1000through the addition of a plug-inboard.

An interesting option for the GrassValley DPM-100 is recursive memo-ry. This extra acts like a still store forone frame, and is useful for montages;it also provides star trail and decaytrail effects. A second channel isavailable, and the DPM-100 comes inseveral configurations, includingcomponent digital. GVG's Kaleido-scope can fit into the Kadenza digitalpicture processing system. A graphicsoption and a new Kurl option areavailable for the Kaleidoscope. You can add a page -turn option to

the Microtime Genesis Act 3, which isavailable in NTSC, analog PAL anddigital PAL configurations. Micro -time's newer machine, the Impact,apparently didn't need any optionalfeatures to make quite an impact atNAB. Microtime received 4,000 Im-pact inquiries at the conference, ac-cording to a company representative.The 3D Impact can do a three -sourcecube in a single pass, and, in realtime, wrap a video image around anImpact -generated 3D object. Betaunits for this midpriced DVE havebeen delivered, and production mod-els are expected to ship in September.

The Pinnacle 3000E workstation isthe NTSC version, and the 3001 is aPAL version. Besides effects possiblethrough the Prizm software, the 3000offers 32 -bit painting and 3D model-ing. A Series 40 option adds 3D ani-mation, and a Series 20 option pro-vides still storage. Without Prizm,

effects are still possible through theSeries 10 option. Pinnacle also mar-kets the 2000 and 2100 series of work-stations, which offer effects and canaccept the Prizm software.

Quantel offers a Track and Trailpackage for its Encore HUD (HUDstands for "Heads -Up Display," a con-trol vehicle used on Quantel's Paint-box) that allows various tracking andtrailing effects.

Sony's DME-5000 can be combinedwith its DVS -8000 video switcher,which has a built-in DME controlpanel. Optional processors for theDME-5000 can make it a four -chan-nel device. With two or more proces-sors, the intersect effect-a calcula-tion of the intersection betweenmultiple pictures in 3D-is provided.An optional wipe pattern generatorfor the 5000 combines with thesqueeze effect to produce a squeezywipe. For the DME-9000 (also termedSystem G by Sony), an optional light-ing effects package allows movementand adjustable luminance level forthree lighting sources.

LITTLE COMPUTERSDigital video effects devices continueto advance with technology, and areexhibiting the persuasive influencewrought by the personal computer.DVEs, at least on the low -end, areeven beginning to look and feel morelike PCs.

Consider image control. Most DVEsrely on a trackball, joystick or T -barattached to a keyboard or panel. TheT -bar (or fader bar) may seem themost natural control for broadcasters,

Top left: Sony DME -9000; top right:Pictoris EDE ; bottom: screen from mouse -controlled Echolab Tempest.


DIGITAL VIDEO EFFECTS DEVICES

and the trackball and joystick are fa-miliar enough to adjust to easily.Only real computer enthusiasts, itwould seem, would want to use amouse.

However, the DVE really is a pic-ture -manipulation computer, and asits capabilities get more involved, it is

breeding the mouse as a more effec-tive means-of both image controland of input. Two of the machines wechart, the hi -end Sony DME-9000 andthe mid -range Electrohome Tempest,use a mouse as the standard means ofcontrol and input.

Sony's DME-9000 mouse is used to

form shapes, and to program shapeanimations. The Echolab Tempestmouse is used more the way a mouseis used on a personal computer. Youcan make menu selections with themouse by positioning and clicking;the selections are bordered aroundthe video image.

Product 3DBackground

Color

EFFECTS

Compression Crop CubeImageFreeze

MultiplePictures

Abekas A53 -D

Alta Pictoris

Ampex ADO -100

Ampex ADO -3000

CEL Maurice

Digital F/X Composium

DSC Illusion

DSC Eclipse

Ecolab Tempest

Electrohome Jazz

For -A MF-1000

For -A 740S

Grass Valley DPM-100

Grass Valley Kaleidoscope

Microtime Genesis Act 3

Microtime Impact

Pinnacle 3000 with Prizm

Quantel Encore HUD

Sony DME-5000

Sony DME-9000


Left: Ampex ADO -100; right: For -AMF-1000

Just as some PCs now offer a choiceof keyboards, or pen or even voice in-put, some DVE makers offer optionsfor input and image control. In addi-tion to its full control panel with T -bar and 66 keys, the Abekas A53 -Doffers a minipanel with joystick and30 keys. A pen and tablet may be used

for input on Quantel's Encore HUD.Storage is another area. While ac-

tual picture storage is a rare feature,virtually all DVEs allow storage of ef-fects or a programmed sequence of ef-fects. Some have internal storage andsome, like the Tempest and Impact,use an external disk drive-the same

as a computer. Tempest can storeboth user programs and video pic-tures (one frame per disk) on 31/2 -inchdisks.

In addition, DVE upgrades are pos-sible through software or throughboards that plug into the DVE chassis-the same approach used for PCs.

...

Perspective Rotation

EFFECTS

Solarization/Posterization

Mosaic Strobe

VariableAspectRatio Warp

A/BSwitch

KEY FEATURES

MousePictureStorage

ReaderService

No....

...

150

151...

...

,

152

153...

154

155...

...

156

157...

158

159...

....

160

161....

....

162

163....

...164

165....

....

,

166

167....

....168

169


New technology promiseslower operating costsfor UHF stations.

At the end of the movie UHF, WeirdAl Yankovic's mythical Channel 62comes to life with awesome power,tower and antenna glowing everbrighter as the forces of good prevailin a rush of electrical energy, savingthe station from the "bad guys," andfrom certain financial ruin.

Of course, that's in the movies. Thefolks who run real -life UHF stationsmust also contend with awesome pow-er-awesome power bills, that is. Butthanks to the evolution of UHF -tubetechnology, and some creative engi-neering, high UHF power costs maysoon be a thing of the past, gone theway of two-inch quad tape and image

By William A. Owens

Eorthicon cameras.

From the beginning of UHF broad-casting, operators have suffered thecosts of high power consumption.Many of those original UHF stationssank into a quagmire of financialproblems, compounded by the expen-sive power bills caused by that firstgeneration of Klystron-based trans-mitters. Improved transmitter effi-ciency came slowly, rising from the30 -percent range, up through the 40 -and 50 -percent ranges. With the in-troduction of mod -anode pulsing, pro-viding full available beam currentonly when needed, and with annularcontrol electrodes permitting evengreater operating efficiency, powerconsumption has been reduced con-

siderably. Yet until recently, therehas been no real alternative to power-hungry Klystron tubes.

Broadcasters today are evaluatingnew alternatives in UHF transmit-ter -tube technology, designed for in-creased efficiency. The two majormarketplace contenders in this battleare the Multi -Stage Depressed Collec-tor and the Klystrode. In addition, theold familiar Tetrode would appear tobe poised for an expanded role in theenergy -efficient world of the future.The first of these new -generation de-vices are already in the field, and sav-ing operators' money.

MAJOR SAVINGS,MAJOR PLAYERSIn the battle for efficient tube busi-ness, the field of players is a smallone, and the stakes well worth fight-ing for.

EEV Inc. has introduced itsKSC3360 tube, a four -cavity de-pressed -collector Klystron, and whatit is calling the 10T7360 InductiveOutput Tube. According to EEV'sMike Kirk, "The IOT is EEV's en-hanced -technology implementation ofthe Klystrode concept."

Philips Components will shortly bedelivering its first PDC tubes toWNUV-TV, Channel 54, Baltimore,MD. Brown Beezer, product engineerat Philips (Amperex), says the PDC, afour -cavity depressed -collector tube,is plug -compatible with the EimacMSDC.

Thomson-CSF Electron Tubes andDevices Corp. has introduced a 25 kwTetrode tube, capable of up to 35 kwoutput in combined amplification ser-vice. Its first tubes are already in ser-vice at stations in Florida and NewYork.

Varian-EIMAC is providing bothMSDC Klystron and Klystrode tubes.As its exclusive distribution arrange-ment with Comark ends this month,industry sources expect more wide-spread implementation of Klystrodetechnology.

AN OLD FRIEND UPDATEDThe most familiar of the "new-gener-


li

ation" tubes is the MSDC Klystron, adevice different from the "old" Kly- KVDA TV Transmitter Site Electric Coststron only in the design of the collec- 8800

tor assembly. Tom Dolan, Varian-El- 7920

MAC's Klystron sales manager, says,"The MSDC design came out of EI- 7040

MAC's research for the NASA space 6160

program." Dolan told us that the E/2

Ca 5280

MSDC technology "represents an ex- 0cellent means of saving money for a

0 4400

new or existing UHF station." 3520

Stations now on the air with 2640

MSDC-equipped transmitters areKVDA-TV, Channel 60, a Telemundoaffiliate in San Antonio, TX, and

1760

880

WNVT-TV, Channel 53, Falls 0

Church, VA. Also on order areMSDC-equipped TVT transmitters

Oct '89 Nov '89 Dec '89 Jan '90 Feb '90 Mar '90 Ac 90

for Home Shopping Network's Total Cost Billing Cycle

Billing Cycle Oct '89 Nov '89 Dec '89 Jan '90 Feb '90 Mar '90 Apr '90

Date From 10/17/90 11/15/90 12/18/90 1/18/90 2116/90 3/19/90 4/17/90

Date To 11/15/90 12/18/90 1/18/90 2/16/90 3/19/90 4/17/90 5/17/90

Units Used (KWH) 156384 165024 143712 157536 144000 108288 102816

Demand (KW) 328 323 354 366 467 268 265

Total Cost $8011.23 $8466.91 $8744.43 $8368.63 $8491.56 $5744.05 $5688.30

1790/91 Running X X X X X

Vista MSDC Running X X X

EEV Inc. 60 kwwater-cooledInductiveOutput tube.

WHSE-TV, Channel 68, New YorkCity, and HSN affiliate KSLD, Chan-nel 62, Riverside, CA.

KVDA-TV was a start-up station,going on -air for the first time in Sep-tember 1989. To meet the KVDA-TV's air date, Varian-TVT provided atemporary, non-MSDC transmitter.In late February 1990, the new -gen-eration "Vista MSDC" transmitterwas placed on the air. This gave thestation operational experience withboth old- and new -type transmittersand tubes. A graphic display on thesepages shows the cost of electric withthe "old" TVT 1790/91, compared tothe "new" TVT Vista MSDC-equippedtransmitter.

KVDA TV Transmitter Site Electric Usage165030

148527

132024

115521

99018

82515

66012

49509

33006

16503

0

Oct '89

Untts Used (KWH)

Nov '89 Dec '89 Jan '90 Feb '90 Mar '90 Apr '90

Billing Cycle


HOT TUBES

According to Roger Topping, chiefengineer of KVDA-TV, the drop inpower consumption was considerable."Following the cut -over, we experi-enced a 32 percent reduction in powercosts," he says. Even with the area'slow average rate of five and a halfcents per kilowatt hour, Topping re-ports, "The electric bill fell by almost$3,000 per month, while operationhas been smooth as silk, with abso-lutely no off -air time due to transmit-ter problems."

When asked what advice he wouldgive engineers considering power-ef-

Tetrode from Thomson-CSF.

ficient transmission technology, Top-ping told Television Engineering thatprospective buyers should "considerthe entire power -consumption pic-ture, not just the figures for the tubeitself. Look at the total system's pow-er needs, find out what it takes to runpumps, blowers and all the other sup-port equipment." He also pointed outthat one should not forget the costand upkeep of power -conditioningequipment. Finally, one needs to con-sider the building HVAC system asanother necessary expense.

TECHNOLOGY COMBINEDFOR SAVINGSThe Klystrode represents a combina-tion of Klystron and Tetrode technol-ogy. Visualize the accelerator anode,drift tube, and collector design of aKlystron married to the cathode andcontrol -grid structure of a Tetrode,and you've got a pretty good idea ofwhat a Klystrode is all about.

While the Klystrode was developedby Varian-EIMAC, the missionarywork in spreading the gospel of Klys-trode technology has been done by Co -mark, under an exclusive sales agree-

Varian-EIMAC air-cooled Klystrode.

ment with EIMAC. As of press time,at least 12 stations were on the airwith Klystrode-equipped transmit-ters, with a like amount in contract orunder construction.

Development of the technology hasbeen ongoing, with fine-tuning oftube design continuing as on -air ex-perience has been gained and reliabil-ity proven.

According to George Badger, theKlystrode marketing manager for EI-MAC, the tube design uses "the mostreliable part of the Klystron-the

power -dissipation part-and removesit from RF generation." Badger re-ports that many stations are furtherextending their operating efficiencythrough air cooling and combined am-plification.

He told us that of the first dozenKlystrode-equipped transmitters inoperation, one was air-cooled, andthree were designed for multiplexedoperation. Of those currently in con-tract or under construction, eight areair-cooled, and seven planned formultiplexed operation.

High power bills were the reasonfor selecting Klystrode technology atWTCI-TV, Channel 45, in Chattanoo-ga, TN. Chief engineer Bryan Fuquatold Television Engineering that hismonthly power bill for the PBS sta-tion's transmitter plant dropped by 30percent after putting his new trans-mitter on-line. "We doubled our pow-

replacing an RCA 30 kw withnew Comark 60 kw; cut power con-sumption and gave our viewers a goodclean signal."

Dennis Wallace, chief engineer ofHome Shopping Network affiliateWIIB-TV, Channel 63, Bloomington,IN, says, "Running 24 hours a day,seven days a week required a reliable,trouble -free transmitter." WIIB-TVoperates a two-Klystrode, 80 kwtransmitter running in combinedmultiplexed configuration. "[I can]take one amplifier down for mainte-nance and only lose 3 db of signalwhile the second amplifier remainson the air," Wallace says. With over12,000 hours on -air, his is the long-est -running Klystrode-equippedtransmitter in commercial TV ser-vice.

John Prather, VP of engineering atWHTJ-TV, Channel 41, in Char-lottesville, VA, says his Klystrode-equipped unit "worked right out ofthe box." He adds, " I wanted a trans-mitter that would require little main-tenance at WHTJ-TV's remote moun-taintop transmitter site, whileproviding a savings in power con-sumption." Configured for air-cooled,multiplexed operation, WHTJ-TV'stransmitter now has about 7,000


HOT TUBES

hours of air time.And finally, George Castle, chief

engineer of WFWA-TV, Channel 39,Fort Wayne, IN, told us that his dual30 kw Klystrode-equipped transmit-ter, configured for combined amplifi-cation, performed "beyond all expec-tations."

HIGH-POWERED DARK HORSEFor the near -term future, the energy -saving solution for high -power UHFbroadcasters would appear to be ei-ther the Klystrode or MSDC Kly-stron. But there is another possibili-ty: the high -power UHF Tetrode.Tetrodes are, of course, the backboneof most VHF transmissions. WhileTetrode operation on UHF frequen-cies has a long history of proven reli-ability, until recently, their UHF ap-plications have been limited to low -power transmission, with powerlevels up to 10 kw. That limit is beingpushed higher every day.

According to Andy Macchiaverna,sales manager, power -grid productsfor Thomson-CSF Electron Tubes andDevices Corp., the high-powered Tet-rode future is just around the corner.Macchiaverna told Television Engi-neering that the Tetrode represents"proven, cost-effective technology."He expects to see "more broadcastersconverting to multiplexed Tetrode op-eration for cost savings in both main-tenance and power consumption."Thomson currently makes a 25 kwTetrode, and Macchiaverna reportsthat the company will "respond tomarket demand for higher -powered,efficient broadcast devices."

A number of stations are alreadyoperating 25 kw Tetrode-based trans-mitters, including Fox affiliateWTLH-TV on Channel 49 in the Tal-lahassee, FL, market, and NBC affili-ate WICZ-TV, Channel 40, in Bing-hamton, NY. Both stations utilize 25kw Tetrodes in combined amplifica-tion (multiplexed) transmitters fromAcrodyne Industries, Inc. JoesphWozniak, sales and marketing man-ager for Acrodyne, says, "Most broad-casters are looking to save money,both in terms of purchase price and

operational expenses. The initial cost,the power efficiency, and the solid-state reliability are prime reasons forbroadcasters to look at new technol-ogy." Wozniak also notes, "I expect tosee Tetrodes at higher power levelsavailable in the not -too -distant fu-ture."

Gino Ricciardelli, VP of engineer-ing at NBC affiliate WICZ-TV, Chan-nel 40, Binghamton, NY, says, " Ilooked at proposed six- to eight -per-cent increases in my power rate nextyear, and decided to find a more eco-nomical means of transmission." Hissolution was a Tetrode-equippedAcrodyne, which generates slightlymore power than the station's oldRCA TTU-30 transmitter, now usedonly for back-up service. According toRicciardelli, his power bill "droppedby 40 percent after cutting over to thenew transmitter."

TOUGH CHOICESIt is almost impossible to make an ob-jective comparison of the competingtechnology. If one were purchasingnew studio cameras, evaluationwould be quite simple; stage a shoot-out. Bring the competitors into thestudio, under the same conditions,and feed them into the same monitor-ing equipment. You buy the one thatlooks better.

It's not quite the same with trans-mitter tubes. You can't just pop one ina socket for a few hours and see how itperforms. If you're considering a con-version from old technology to new,be it MSDC, Klystrode or Tetrode,you're talking about serious changes,not just a trolley swap. There's reallyno way of making a comparison testin your own facility.

The manufacturers are quite help-ful in this regard, each one providingtons of test data and comparisonspecs. With a little mathematics, aslide rule or maybe a calculator,you'll find that whatever new tech -

Five -cavity high-efficiency/high-gain ABCKlystron from Philips Components.

nology you chose will pay for itself inreduced power bills.

In preparing this article, we founda great group of engineers out there,guys happy to talk about their experi-ences with this new generation oftransmitter tubes. Off the record,some had, like most pioneers, abumpy start. To their credit, manu-facturers have done everything possi-ble to- get the new technologylaunched and off the ground.

While some proponents of HDTVexpect UHF to be the cost savingtransmission media, for the near termfuture, UHF broadcasters must maxi-mize efficiency.

The folks in the UHF world are fac-ing some interesting challenges inthe next few years. As energy be-comes increasingly expensive, andstations do everything possible tomove more revenue down to the bot-tom line, the on -air operation must bemore cost-effective. Efficient technol-ogy is now a necessity.


PART III: THE PRODUCTS

STATION

EQUIPMENT

131,TING

1990Television Engineering

concludes itsexclusive study

of purchasing trendsamong TV stations.

This month: thekinds of products

they're buying.

By Peter Caranicas

Even in slow years,such as this one, TVstations buy lots ofequipment. ExclusiveTelevision Engineer-ing research indi-cates that hardwarepurchasing in 1990 isabout even with last

year's numbers, averaging about$621,000 per station.

Where is this money going? Whattypes of equipment, and how much ofeach type, are stations buying thisyear? Are they investing in digital re-cording? Do they expect HDTV to en-ter their business any time soon?

To answer these and other ques-tions, Television Engineering com-missioned a scientific survey of TVstation spending patterns on hard-ware, contacting by phone a randomsample of 245 buying sites (see box on"Methodology"). We are presentingthe results of this exclusive study in aseries of three articles.

In May, Part I ("The Decision -Mak-ers") analyzed the key role of stationengineers and others in decidingwhat equipment to buy. In July, PartII ("Budgets") compared the equip-ment purchasing budgets of stationsof different sizes for the years 1988,1989 and 1990.

This month, Part Three examines1990 buying intentions for 14 specificcategories of equipment. At each sta-tion contacted, we asked the principalequipment -purchasing decision-mak-er-most often the chief engineer-whether his station would "certainly,very probably, probably or probablynot" buy at least one item from eachof 14 product categories (see Chart 1).

The respondent gave highly de-tailed answers to these questions. Forthe purposes of presenting the infor-mation in the limited space availablehere, the answers "certainly," "veryprobably" and "probably" are com-bined into the response "likely."

As Chart 1 indicates, VTRs are theitem most likely to be purchased thisyear, followed closely by monitors andENG cameras. Well over half of allstations intend to make purchases ineach of these categories.

The popularity of VTR purchasesbegged the question of formats. Laterin the survey, which consisted of wellover 100 questions, we asked stationswhether they plan to install digitalVTRs this year or within the next twoyears.

Sixteen percent of all stations wereplanning such purchases in 1990, and30% in the combined years 1990/91(Chart 2). This number is even morestriking in the larger markets, with53% of stations in the 25 largest mar-kets planning digital VTR purchasesin 1990/91.

Those stations saying they would48 August 1990/TELEVISION ENGINEERING

purchase digital VTRs were furtherasked what digital format they wereconsidering. Fully 86% said it wasD-2. Only 5% characterized it as "D-3" or "half -inch digital," 2% said D-1,and 10% didn't know.

Those stations stating they weren'tconsidering any digital -recorder pur-chases were asked why not. Almosttwo-thirds, or 63%, said digital is "toocostly." Over one-third, or 36%,claimed there's "no use" or "no need"for digital recording. And 15% saidthey were already committed to other

Methodology

Television Engineering com-missioned the TV researchfirm Frank N. Magid Asso-

ciates to conduct an equipment -purchasing survey among televi-sion broadcasters in the nation's150 largest markets. These sta-tions broadcast to 96% of the U.S.population. Magid telephone inter-viewers reached a random sampleof 245 stations in these markets,out of a total universe of 875 suchstations. The resulting margin oferror is plus or minus 5%, and thesurvey's findings are projectable tothat entire universe of stations.

The researchers asked to speakto the person "most familiar withthe station's technical equipment. . . and the purchasing of it." Ifthat person was not available, theyset a time to call back. Most of therespondents had engineering ti-tles, with 69% being chief engi-neers or assistant chief engineers,and 14% directors or managers ofengineering. Twenty percent of therespondents worked at stations inmarkets 1-25, 17% in markets 26-50,31% in markets 51-100, and23% in markets 101-150. Twenty-one percent were ABC affiliates,22% were affiliated with CBS, 20%were affiliated with NBC, 13%were affiliated with Fox, and 23%were independent.

equipment and systems. Only 2% saidthey wouldn't purchase digital equip-ment because of incompatibility.

At the end of the survey, respon-dents were asked whether theythought "an over -the -air HDTVtransmission system" was likely to beoperating with in the next five yearsor within the next 10 years. While38% felt such a system would be oper-ating within five years, 84% felt itwould be up within 10.

Naturally, the gut feeling of chiefengineers isn't what will motivate thebroadcast market to adopt HDTV.Questions of standards remain unre-solved, and the economics of an indi-

vidual station becoming involved inhigh-def remain questionable in allbut the largest markets,where cashflow can support the required invest-ment.

Nevertheless, the basic optimism ofstation chief engineers toward HDTVindicates a positive predisposition tothe technology. This is a fertileground for the growth of any poten-tial system.

Future research to be conducted byTelevision Engineering will continueto monitor engineers' attitudes to-wards HDTV as part of our overall ef-fort to gauge and predict purchasingpatterns for all equipment.

PERCENTAGEOf

TV STATIONS"LIKELY"

TO PURCHASE

60%

50%

40%

30%

20%

0%

CATEGORIES

OF

EQUIPMENT

CHART 1: Likelihood of Purchase in 1990of 14 Categories of Equipment

145%

131%

1111m20%

17%

1 6%

PERCENTAGE

OF STATIONSANSWERING'YES" 60%

50%

40%

30%

20%

10%

CHART 2: Digital VTR Purchase Intent

QUESTION: Do you plan to installdigital videotape recorders in 1990?

11%I 811 ii

QUESTION: Do you plan to installdigital videotape recorders in 1990/91?

53/

33%


ANNOUNCINGTELEVISION ENGINEERING'S

FOURTH ANNUAL4 4( 4( 4( 4( 4g 4( 4g 4( 4( 4( 4( 4( 4E 4( 4( 4g 4( 4( 4( 4E 4( 4( 4( 4( 4g 4( 4( 4E 4( 4( 4( 4( 4( 4(

EXCELLENCE IN ENGINEERING AWARDS4( 4( 4( 4( 4( 4( 4( 4g 4( 4( 4( 4( 4( 4g 4( 4( 4( 4g 4( 4( 4( 4( 4( 4( 4( 4( 4( 4( 4( 4( 4( 4( 4( 4( 4(

NOMINATIONS ARE NOW BEING ACCEPTED

TelevisionEngineering

is pleased towelcome nominations

for the fourthannual Excellence inEngineering Awards,

which recognizeoutstanding

achievements andcontributions made by

organizations andindividuals in the

broadcast andteleproduction

community.

This year we willpresent awards forachievement in thedesign or operation

of BroadcastTelevision Stations,

EXCELLENCE IN ENGINEERING

1991

BM Irs

e evisiou [quellNominations must be received no later thanOctober 15, 1990. Award winners will beannounced in the January, 1991 issue.

TeleproductionFacilities, andMobile ProductionTrucks.

In addition, we willhonor individualswho have madesignificant contributionsto the fieldof TelevisionEngineering.

For more information,or to nominatean organization orindividual, contactBill Owens, TechnicalEditor, TelevisionEngineering,401 Park Avenue South,New York, NY 10016,(212) 545-5169.

4.**ve.4.

"5.,1-7".1; !...?ei

r-z4g sc

as. :lY4 i.t.t.S..;,..441..:::w.t;i

NewProducts

This month, TelevisionEngineering completes

its focus on newproducts uncrated at

NAB.

FUJINON HR22x18ES HDTV Zoom Lens

Introduced at NAB, this 18 mm -400 mm zoom lens hasa maximum aperture of F1.8 constant to 350 mm andF2.0 at 400 mm. Including a built-in 2X range extenderand a 5.5 MOD, the lens incorporates Fujinon's patented"floating -group" optics and a built-in microcomputersystem with analog -to -digital and digital -to -analog con-verters. It can communicate B -G and R -G registration in-formation directly to the camera; monitor focus, zoom,and iris positions; and offer real-time corrections for lon-gitudinal and lateral chromatic aberrations and shading.The 26 kg HR22x18ES is about the same size as a con-ventional one -inch format studio lens, but the companyengineers claim they have saved 50 percent in weightand 70 percent in size.Reader Service #200

AMPEX VPR-200, VPR-250and VPR-350 0-2 Studio VTRsAmpex's new composite digital D-2 machines were intro-duced at NAB. The 200 supports all three D-2 cassettesizes with playtimes of up to 208 minutes; the 250 and350 support small and medium cassettes with play-times up to 94 minutes. Other features for the 200 and250: full compatibility with the ACR-225 automatedcassette system, including ACR-225 control for off-lineautomatic break tape generation; and a time compres-sion/expansion mode, allowing for recovery of bothvideo and helically recorded digital audio over a range of± 15 percent. For the 350 and the earlier -released 300,60 times play shuttle speed is reached in less than onesecond, enabling a 30 -second spot to be re -cued in lessthan 1.5 seconds; playback lockup is 20 milliseconds.Other features: variable speed playback from -1 to +3times play; and an animation mode that permits forwardand reverse animation. Prices begin at $60,000.Reader Service #201

FOR -A VPS-500 Video Production System

Used in combination with FOR -A's NB roll Editing Con-troller (EC -740) and Audio for Video Mixer (AFV-500), theVPS-500 provides switching, time -base correction (viatwo built-in, infinite -range TBCs that function indepen-dently), and digital -effects processing. Six Y/C358 orcomposite inputs are switch -selectable to permit use ofS -VHS and U-Matic VTRs and cameras without atranscoder. Other features of the equipment, demon-strated at NAB: AB/effect transitions (12 wipe patternsand three digital slide patterns) generated by a digitalWaveform processor; color borders with adjustablewidth (eight steps); three independent colorizers forbackground, border and DSK matte; FXM-500 EXTROLEffects Memory, which can store as many as 40 staticcommands and 20 dynamic effects; and downstreamkeying with two external key source inputs, one externalkey fill (RGB), and an internal color matte generator.Reader Service #202


SONY BVP CCD Studio Cameras

Sony introduced two CCD studio cameras at NAB: the BVP-370, featuring the768 Frame Interline Transfer (FIT) imager, providing 700 lines of horizontalresolution and increased dynamic range; and the BVP-270, utilizing the 768Interline Transfer (IT) CCD imager. Both cameras incorporate Sony's Hole Accu-mulated Diode sensor to increase dynamic range and low dark current. The 370,designed for studio and 0/B applications, and the 270, intended for general stu-dio use, both provide f 5.6 at 2,000 lux, a signal-to-noise ratio of 62 dB, and anelectronic shutter with multiple speeds, from 1/100 to 1/2000 seconds. Bothalso feature automatic setup of all color -balance aspects.Reader Service #203

ASAHI RESEARCH ARC PRO -200 Videolight/ARC NC -424 Battery Power Belt

Asahi Research Corp., a maker/supplier of video lights for camcorders, enteredthe professional market by introducing these two products at NAB. The light,delivering 200 -watt illumination, features a glass diffuser for even distributionand a built-in IC -controlled whisper fan for cooling. The battery power belt, con-structed of heavy -grain cowhide, provides 24 -volt DC power to the Pro -200 forfour ampere hours at the 24 -volt setting, and 25-30 minutes at the 200 -wattsetting. Prices: light, $799.95; belt, $629.95.Reader Service 11204

AMPEX Component Digital ADO 100/ComponentAnalog ADO 100

These two new versions of the ADO 100 digital effects system were showcasedat NAB. The component digital version is designed for a variety of applicationsby broadcasters and post houses as a low-cost substitute for a full -featured,multi -channel effects system. The component analog version, announced atSMPTE '89 and shown at NAB for the first time, provides another compatibilityoption for ADO 100 users. The ADO 100 provides a full -range of 2-D effects, in-cluding X, Y and Z rotations; standard Digi-Matte Key Channel to fly irregularly -

shaped objects, characters and logos; and optional perspective for 3-D effects.The system is designed to be integrated with an Ampex Vista switcher. ADO -100prices start at under $20,000.Reader Service #205

HARRIS 60 -KilowattWideband MSDC UHFTransmitter

Shown at NAB, this unit uses exter-nal -cavity depressed -collector Klys-trons, which the manufacturer claimsoffer nearly twice the AC-to-RF effi-ciency of pulsed external -cavity Kly-stron transmitters. The depressed -collector Klystron employs the sameRF section and electron gun used in astandard wideband external -cavityKlystron, differing only in the collec-tor stage. Other features: a low -volt-age annular ring pulser; multiplehigh -voltage beam supplies with ex-ternally accessible tap switches tomaximize transmitter on -air reliabil-ity; and a heat exchanger with redun-dant pumps and fans controlled byseparate thermostats.Reader Service #206

SONY DVS -8000(C) DigitalVideo SwitcherThis NAB -showcased switcher, avail-able in composite and componentversions, has 24 primary inputs andtwo black and two background gen-erators. It has 2.5 mix/effects banksand a downstream keyer. The systemcan be linked with Sony's DME-5000,and control DME-Wipe patterns thatinclude slide, squeeze, split, turn,page turn and roll. The interface (in-cluded) links the 8000 with the multi -effects device, VTRs and editors.Reader Service #207


,f?

PANASONIC A1 -D350

Composite Digital VTR

Premiered at NAB as the first in

Panasonic's series of 1/2 -inch digitalVTRs, the kJ -D350 uses metal tapeand features an 8 -14 -channel cod-ing system. Panasonic says the error -correction format of the Al -D350 isfour times more powerful than that ofD-2 recording systems. Its audio re-cording system utilizes double errorcorrection, field -shuffling audio sec-tor allocation, and guardband edit-ing. The guardband-editing tech-nique first erases the original data,then generates a guardband at the inand out points. A new amorphoushead design allows search speedsup to 100 times normal.Reader Service #208

DV SWEDEN AB DVNR1000High -Performance Video NoiseReducer

Announced at NAB, the DVNR1000features up to 20 dB noise suppres-sion; motion -adaptive processing;two-dimensional aperture correction;digital 4:2:2 processing format with50/60 Hz, 10 -bit signal chain; suchI/O standards as CCIR 656 (D-1),RGB, YUV, PAL and NTSC, with analog

interfaces as plug-in boards: and aflexible bus with six slots.Reader Service #209

SCIENTIFIC-ATLANTA 8060Satellite AntennaDesigned for mid -sized uplink andTYRO downlinks, the dual -reflector8060 has 16 stretch -formed steelpanels supported by a steel backingstructure. Options for this NAB intro-duction include motorization, de-icingand lightning protection. The anten-na may be used for transmission orreception, for Ku- or C -Band trans-mission, or domestic/international.Reader Service #210

.2

CANON 114a x 8.5B InternalFocusing Standard Zoom Lens

According to Canon, chromatic ab-erration, distortion and flare are alldecreased with this lens, which wasintroduced at NAB. Canon adds thatthe lens permits the use of graduatedneutral density filters that do nothave to be reindexed after everymove. The lens employs a fixedsquare shade that moves with the fo-cusing mechanism.Reader Service #211

DYNAIR ELECTRONICS Series

3100 Modular DistributionAmplifiersThis NAB -introduced line of six -out-put, 30 MHz utility video and pulse -distribution amplifiers can compen-sate for up to 1,000 feet of Belden8281 or equivalent cable. They areplug -compatible with the GVG 8500series amplifiers and will be availablein linear and regenative pulse -distri-bution versions. Prices start at $100for the 1 x 6 VDA.Reader Service #212

AMS INDUSTRIESAudioFile Plus

The major elements of this hard -diskediting system upgrade, exhibited atNAB, include: transputer technologyto speed up operation; multiple in-puts in both analog and digital; four -channel AES/EBY digital I/O; andread/write magneto optical backup/archive subsystem, featuring remov-able drives.Reader Service #213

UNION CONNECTOR ModularPower Distribution SystemThe system, for studio or locationwork, consists of 100-, 200- and400 -Amp single or three-phase por-table distribution boxes, with powerranging from 12 to 250 KVA. Theboxes, designed to be carried by oneman, contain from 12 to 42 circuit -breaker -protected output circuits.Reader Service #214

;;;* fail; .15;::a..a:


CONVERGENCE PSI Parallel -

Serial InterfaceDesigned for use with the ESC -185and ESC -985 series edit controllers,PSI will convert a number of VTR se-ries to RS -422 control without soft-ware changes. Among the series: KR -M8000, BR -S810/610, BR -S811/611, BR -8600U, PR -8800, VO-5850/5800, VPR-2B, AG -7500/A, AG -6500 and CR-8250. The self-con-tained PSI-introduced at NAB alongwith the 185 and 985 controllers-works without the setup limits (suchas bump adjust and joystick voltagealignment) of past parallel inter-faces.Reader Service 4-t 215

OTARI Diskmix 3 MovingFaders

This upgrade to the Diskmix consoleautomation system allows updatesto begin as soon as the fader istouched; provides a seamless transi-tion from update to stored mix; ac-commodates up to 128 consolechannels; and stores mixes on a harddisk at the end of each pass. Channeloperating modes are selectedthrough push buttons on a fader mod-ule, while wide-angle LEDs providesystem monitoring. The system,introed at NAB, can be installed onany console that has separate faderpanels. Prices begin at $36,900.Reader Service #216

WSI NOWsat and NOWrad

Services; NOWvision Upgrade

Two services and one software up-grade were introduced by WSI Corp.at NAB. The NOWsat automaticallysynchronized radar and satellite im-agery service overlays NOWrad multi -site radar composites on SUPERsatsatellite imagery to show TV viewersthe location of clouds and precipita-tion. NOWrad high -definition radargradiates 150 colors (within NWS-specified guidelines) to bring out de-tail. Other NOWrad hi-def radar fea-tures: updates every 15 minutes;unlimited and uninterrupted accessto 800 radar sites nationwide; 24hours of archived imagery; full -color

RTS SYSTEMS 2100 Wireless Intercom System

Operating in the high -band VHF range between 150 and 216 MHz with a selection of 10 different frequencies, the 2100series consists of the bay station (model 2105) and a belt pack (2110). Premiered at NAB, the system features full -duplexoperation. Up to four portable stations per base are possible, and for larger systems, two base systems can be linked to-gether for an eight -station network. The 2105, directly compatible with the TIN intercom, supports the portables and inter-connects with hard -wired intercoms. Prices: 2105, $1,495; 2110, $495.Reader Service #217

4-1


3.

'fs%s14,

printouts of radar images; and ani-mation capabilities.

The NOWvision weather -graphicsdisplay system now offers windowsfor quicker access to radar compos-ites, and multiple data sources.NOWvision also provides selectableanimation rates; 154 -image loopingcapability; 256 colors; hard -disk stor-age; and NTSC output.Reader Service #218

SONY BVM-1915 Monitor

Debuted at NAB, the 1915 offers 600lines of resolution, with a conver- .

gence-free CRT that does not requirespecial circuits for precise adjust-ments. It is equipped with video and

THOMSON TUBES ELECTRONIQUES TH 563, TH 558, TH 537

UHF TV Transmitter Tubes

On the market for some time, but presented at NAB, thesethree tubes meet a variety of output needs. The TH 563 fea-tures an output power of 35 kW peak -of -sync in separatevideo amplification and 25 kW peak -of -sync in commonamplification. The 558 delivers output powers of 600 kW inthe long and medium waves, and 500 kW in the shortwaveband. The 537 can handle 350 kW in LW and MWbands, and 300 kW in SW.Reader Service #219

THOMSON TUBES ELECTRONIQUES TH 2426

Ku -Band Earth Station KlystronThis 14 GHz Klystron, shown at NAB and intended for satel-lite uplinks, has a minimum output power of 3 kW at satura-tion and an instantaneous bandwidth of 85 MHz. The tubefeatures a permanent magnet beam confinement andforced air cooling.Reader Service #220

THOMSON VIDEO EQUIPEMENT TTV 1542,

Proscan CamerasTouted as new products for NAB, these cameras serve ad-vanced needs. The 11V 1542 CCD studio/OB cameraemploys 2/3 -inch sensors with low fixed pattern noise and adynamic lens correction. The Proscan camera, designedfor ED1V/HDTV and studio/OB applications, uses the non -interlaced scanning principle, enlarged bandwidth, and16/9 aspect ratio.Reader Service #221

\-fg.11,;r:Akfd-f!to4;565M.3,4-500ic-A*AS

component RGB inputs, and an RGBfrequency response of 100 Hz to 6MHz. According to Sony engineeringdata, non-linear distortion and dy-namic gain is less than five percent,and differential variations betweenRGB screens are less than one per-cent over a 500 -hour period. Maxi-mum brightness is 60 fL.Reader Service #222

BENCHER Copymate IICopystand

Designed for 35 -millimeter and small-er video cameras, the Copymate II in-

cludes a 36 -inch fluted aluminum col-umn, light arms mounted in the rear,Quartz lights (the 16- by 20 -inch gridbaseboard is illuminated with two 300 -watt quartz lamps offering 3,200 de-grees K lighting), and an optional fea-ture: Light Control (one switch lowersthe illumination to "low" for setup andcomposing or to "high" for exposure.)Reader Service #223

tele=research 77

Introducing the TI02 SMPTE/EBU time code generator/readerthat interfaces with any PersonalComputer which has anRS -232C port.Conventional front panelhardware is replaced by theElectronic Front Pane1TMprogram for easy access to the T102's features. (RequiresEGA, VGA or 8514A video adapter)

A low cost, portable time codegenerator/reader, comes withcomprehensive software fortapelogging, edit decision listing,and programming examples forcustom applications.

Operates in drop, non -drop frame, 25 and 24 frames persecond modes. Lock on to external video or internalcrystal generator reference.

12..1. ..

TIME CODECall Telcom Research for a complete line of full featuredtime code solutions.

TELEVISION ENGINEERING/August 1990(416) 681-2450Circle 109 on Reader Service Card.

N PRODUCTSE

4, ee''''4:t e-' 47: I. - .- n . .

TIMELINE Lynx SoftwareModules

These three new Timeline softwareproducts debuted at NAB. The LynxTime Code Module supports mostmakes and models of professionalaudio and video tape recorders; it al-lows additional operational featuresfor tape synchronization and time-

code interface. The Lynx Video Sys-tems Interface (VSI) Module enablesaudio and video editing systems tocontrol audio tape machines via se-rial emulation (the VSI module con-nects directly to the serial machineport of an editing computer). The LynxVSI Film Module is a version of theLynx Film Module which integratessprocketed film machines into com-puterized AN editing systems.Reader Service #224

J.N.S. ELECTRONICS 8000Series Modular DistributionSystem

Known as "The Frame," this 16 -mod-ule system-shown at NAB-includesstereo/mono audio distribution am-plifier; microphone -to -line amplifier;audio equalizer, with three bands andan adjustable 60 Hz notch filter forhum; a stereo audio limiter with anoise floor of -100 db; stereo validitygenerator and stereo validity detec-tor; audio failure detector; and videodistribution amplifier.Reader Service #225

-Frit111111111. 111111.111

! #

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ABEKAS A82 Composite Digital Switcher

Labeled the first all -digital networking switcher by Abekas and spotlighted atNAB, this modular system has D-2 and analog compatibility, 32 primary inputs,and expandable Mix Effects architecture that allows additional switcher mod-ules to be added as more compositing power is needed. Six full chassis and 18control panels may be integrated on the network. Each Mix Effects system hastwo full -function digital keyers, using such advanced key -processing techniquesas ASPIK (Adaptive Sub -Pixel Intelligent Keying). Other features includeframestore capabilities in each keyer and wipe pattern generators with an exten-sive range of patterns and modifiers; a luminance compositing framestore perkeyer; an effects memory system with 800 keyframe capacity; and a compre-hensive wipe pattern generator.Reader Service #226

BTS BRC-2000 AutomationSwitcher ControllersThis series of switcher controllers, in-troduced at NAB, provide PC -based

control of the BTS TVS/TAS familyof signal -distribution and routingswitchers. Each system in the seriesworks with a user -supplied IBM AT -compatible computer. The series in-cludes the BRC-2000 RoutingSwitcher Configuration Editor, theBRC-2100 Routing Switcher Automa-tion Controller, and the BRC-2200 Fa-cility Automation Controller. Eachprovides support for 16 -color CGA/EGANGA displays; database tech-niques that allow the storage of 250entries per configuration or schedule;and a word -processor style "ScheduleEditor" for creating and modifyingconfiguration and schedule files.Reader Service #227

SONY HMPX Hi8 Videotape

When used in equipment incorporat-ing the Hi8 video system, the HMPX


produces 400 -line images. The tape,presented at NAB, employs needle -shaped metal particles, 66 percentsmaller than those used in standard8 mm tape. In a move that Sonyclaims enhances output through thewavelength spectrum, the tape'suppermost particles are alignedupward.Reader Service n 228

GRASS VALLEY DSK-102Control Panel

This rack -mounted control panel forthe DSK-101 Linear Keyer was dem-onstrated at NAB and allows lumi-nance and linear keying; four keysource and four fill inputs with accu-mulative latching; key mix and fade -to -black accurate automatic transi-tions with pause mode; GPI inputprogramming; key invert; and E-MEMSystem registers. Price: $4,680.Reader Service #229

UTAH SCIENTIFIC Series 2PVS Production VideoSwitcherAn NAB premier, this switcher in-

cludes such features as: matrix sizesto 1,280 x 1,280 with eight sepa-rately addressable levels; HDTV com-patibility; a fully user-reprogram-mable system with no down time;full matrix reconfiguration in one ver-tical interval; redundancy for all cri-tical circuits; and full matrix salvocapability.Reader Service #230

FOR -A MF-1000 Digital ImageProcessorAnnounced at NAB, the MF-1000 fea-tures a built-in infinite -correction -range TBC, compatible with S -VHS,U-matic SP, and other half- and three-quarter -inch VTRs. Among its effects:compression, zoom, positioning, flipand tumble, wipe, mosaic, paint and16 movement patterns. Its memoryallows up to 18 effects sequences ofup to 40 movements to be pro-grammed and edited.Reader Service #231

GLOBAL SUPPORTFOR GLOBALCOMMUNICATION

MicroprocessorControlledKlystron HighPower AmplifiersField -proven and recognized for widespectrum coverage and consistent,reliable output, MCLs MicroprocessorControlled (and Standard Logic) KlystronHigh Power Amplifiers (SATCOM C -Bandand Ku -Band) are accepted and proven bycommunications experts worldwide. MCLSeries 10000 Klystron Amplifiers aredesigned to withstand variableenvironmental and mechanical conditionsand are engineered for minimummaintenance and repair.

MCLS SATCOM Series 10000 AmplifierSystems feature a host of standardequipment and options, including:

full microprocessor (or CMOS Logic)system control panel

modu'ar assembly for rapidsub -assembly access

Motorized Channel Selectorsavailable

RS232, RS422, IEEE488, or ContactRemcte Interfaces

electrical/mechanical "no -step" orSCR AC line regulator drawer

Beam Supply on casters; all otherassemblies on slides

ruggedization for transportableapplications

and more!MCL is the leader in the field of amplifiersand allied equipment for the field ofsatellite communications. MCL offers acomplete Ine of products, at competitiveprices, quality -tested and proven toprovide unexcelled performance,

L_

Microprocessor amplifier shown

Write or call MCI.. today andrequest your FREE copy of

Brochure #1001 (MicroprocessorLogic) or Brodlure #9009

(Standard CMOS Logic) for detailsand technical specifications.

MCL, INC.501 S. Woodcreek RoadBolingbrook, IL 60440-4999708-759-9500 TWX 910-683-1899FAX: 708-754-5018

Manufacturers of TWT and Klystron Amplifierts for Satellite Communications.24 -Hour Sales and Technical Support for Imanediate Service Worldwide.

TELEVISION ENGINEERINGCircle 110 on Reader Service Card.

ACE T8 Plus ProductionSwitcherThis 10 -input control panel, seen atNAB, has four buses and two keyersand offers 89 wipe patterns, includ-ing rotary and clock wipes; anti-aliased Linear Key capability; dualpattern generators; full -function lin-ear downstream keyer; and a mem-ory -controlled events system with a64 -event memory.Reader Service #232

THOMSON TUBES

ELECTRONIQUES TH 343Radio Tube and Cavity

The TH 343 is a coaxial metal -ce-ramic tetrode with a gain of 17 dBand an operating frequency of up to120 MHz. Displayed at NAB, it hasPyrobloc grids and is air-cooled.Reader Service #233

ACCOM D -Bridge 221 NTSCDecoder

This NAB -demonstrated system usesa three-dimensional, frame -basedtechnique to comb the chrominancefrom the luminance. When needed,the 221 can adapt from frame -combto line -comb to bandpass modes forthe pixels that need it. The decoder isdesigned especially for decodingType C, U-Matic, and D-2 video into

digital paint, graphics and effectssystems.Reader Service #234

NEW ENGLAND DIGITAL SoundLibrariesNED's four new sound libraries,debuted at NAB, are the string -basedProsonus Library, Vol. II (price:$4,950); the Valentino Sound EffectsLibrary (price: $2,250), with fire-works, sneezing and harbor sounds;the Lucasfilm Sound Effects Library,Vol. I ($2,450), featuring animals,natural elements and machines; andthe Sound Ideas Sound Effects Li-brary, Series 3000 and 4000 (price:

$1,750), with boinks, zings, popsand horror effects.Reader Service #235

ACCOM D -BRIDGE 122 Digital: Encoding System

This NAB -exhibited system features10 -bit resolution; D-1 input; RGB andanalog component input option; D-2and analog composite output; auto -switching between PAL and NTSC;sync pulse generator; key delay chan-nel; and digital control of encodingparameters.Reader Service #236

NEW ENGLAND DIGITAL

NEDline CommunicationsNetwork SoftwareRunning on a Macintosh computerand either a 2,400- or 9,600 -baud -rate modem with Connect MacNetsoftware, the NAB -sampled NEDlineprovides updated software news, newproduct developments, e-mail, Asso-ciated Press or Business Week wires,and access to MCI Mail and MCI Fax.Connect cost: $75; NEDline annualsubscription: $180.Reader Service #237

SENNHEISER HD 450 StudioHeadphone

The HD 450 Studio Stereo Head-phone is a supra -aural Open -Aire


model designed for high load imped-ance. Employing neodymium ferrousmagnets that provide a strong mag-netic field, the headset uses all field -replaceable parts (driver elements,headband, ear cushions and cable),and is supplied with a steel -stranded10 -foot cable that ends in a strain -re-lief, quarter -inch phone plug. Fre-

quency response: 20-20,000 Hz.Sensitivity (SPL (o 1 mW/1 kHz): 94dB. Distortion (THD (it 94 dB SPL):one percent.Reader Service #238

VIDEOMEDIA Micron Keyboard

EditorMicron, a frame -accurate editing sys-tem employing the V -LAN UniversalControl Network, contains the func-tions of two V -LAN receivers, the key-board and the master -control com-puter. Features: V -LAN distributedintelligence; SMPTE time code;upgradable to NB roll; 250 -eventnon-volatile memory; printer port;software downloadable drivers formost transports; sync roll; split edits;GPI interface; and serial and paralleldrivers on the same board. Unveiledat NAB.Reader Service #239

HAR-KEN SPECIALTIES HK -

120, HK -106, HK -105AdaptersThe plastic HK -120 modular headsetadapter will connect any amplifieddouble -plug headset to a standardcarbon headset jack. The HK -106BNC/XLR adapter, designed espe-cially for temporary audio installa-tions, allows the use of coaxial cableas an audio pair without the danger ofthe XLR becoming grounded to theshield of the cable. The HK -105 (-Mfor male; -F for female) adapter iscomprised of a standard three -pinXLR connector and the TINI Q -G three -pin connector, providing for the ad-aptation of the standard XLR connec-tor and cable to the new TINI Q -Gconnectors.Reader Service #240

True Y/C Processing

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-url Bandwidth;-/C3.58/Comp-oslteInput & Output for S -VHS, VHS,

U-Matic and 3.58 MHZ sub -carrier feedback.Optional pixel by pixelDropout Compensator

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TELEVISION ENGINEERING Circle 112 on Reader Service Card. 59

Conusmoved heaven

to Savethe Earth

When Tim Price of

Medialink, the nation's

largest distributor of public

relations video, needed tocoordinate a live broadcastof a 1,000 -member youth

orchestra/choir in Minne-apolis and send it live to

the United Nations in New

York, he turned to Conusfor technical support.

Tim PriceDirector

Video Operations

Medialink, NY

"The production was fantastic. Conus Satellite

Services did everything just the way we wantedit. My staff people viewing the large screen at the

U.N. told me the pictures looked fabulous and thesound was excellent:

Director, 4 cameras, sound, crew and satellitetransmission. The production was picture perfect.

And the General Assembly Hall, packed with 3,500

children from around the world, viewing the Kids

for Saving Earth program, roared with a standingovation when it was all done. That's corporate

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At Conus, our business is based on one simple

principle. We're here to make you look good.And that means we're going to do whatever it takes

to produce and deliver a perfect program. CallTodd Hanks or Woody Hubbell at (612) 642-4679,

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-a

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Conus Satellite Services3415 University Ave. Minneapolis/St. Paul, MN 55414

0 TARGET The international sponsor of Kids for Saying Earth"'Ws for Samna Earth. P.O. Box 47247 Plymouth. MN 55447-0247

...e,t; i

BARCO EMT 981 CD Player

This professional unit, unveiled at NAB, features large, illuminated push -but-tons, rotary controls and displays. Front -loading, the 981 can be integrated intoautomated programming systems. Operating functions include edit and on-linemodes; cue; auto cue; auto stop; and time -indication modes. Disk drive func-tions allow access to any location on the disc with tracks, index and time; vari-speed within a 10 -percent range; and track selection via stepped selection dial.A take memory function stores up to four takes (current position to end of track);and audio outputs include line outputs with 16 bit/four times oversampling, digi-tal filters and D/A converters.Reader Service #241

SCIENTIFIC-ATLANTA 7530 Satellite Video Receiver

An NAB unveiling, the 7530 features six IF filters to accommodate various band-width requirements. It has four L -Band inputs for either C- or Ku -Band satellitefrequencies; three synthesized audio subcarrier demodulators for stereo, SAP orother audio services; and user -configurable control and monitor ports.Reader Service #242

COMARK COMMUNICATIONS CTT-U-30SKA, CTT-U-60SKA,CTT-U-70S UHF TV Transmitters

These 30, 60 and 70 kW transmitters were unveiled at NAB. The 30 kW CTf-U-30SKA and the 60 kW CTT-U-60SKA are both air-cooled, Klystrode-equippedand have a 'Magic Tee.' The 70 kW CTT-U-70S is five -cavity and water-cooled,and uses a Klystron with control cabinet.Reader Service #243

MICRO COMMUNICATIONS Super Power Isolator

One of several Micro Communications products introduced at NAB, this SPI isdesigned for HDTV needs. It is a high -power waveguide or coaxial device thatstabilizes RF system response and eliminates VSWR deviation, protecting thetransmitter from reflections that degrade video performance.Reader Service #244

CONIFER TELECOMMUNICATIONS Low -Noise Preamplifiers

At NAB, five models of low -noise, GaAs FET, 2.1-2.7 GHz preamplifiers wereintroduced by Conifer. The GaAs FETs were designed to enhance fringe -areareception, and can be used as microwave line amplifiers.Reader Service #245


ADVERTISERSINDEX

Manufacturer

ReaderPage ServiceNo. No.

AES-AudioEngineering So-ciety 34

Auditronics, Inc. 8 103Barco, Inc. Cvr. III 114BTS Inc Cvr. IV 115Conus Commu-

nications 60 113EEV, Inc 6 102Hotronics, Inc. . . 59 111Interface Video . 59 112MCL, Inc 57 110Nikon Inc. Cvr. II 100Nova Systems . . 23 106Panasonic Broad-

cast 12-13 105Richardson

Electronics . . . . 35 108Sony Broadcast

Products Co. . . . 4-5Sony Broadcast

Products Co. . . . 36-37Sony Tape 26-27 107Telcom Research 55 109Telos Systems . . 10 104Vinten 3 101

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Mail To:Robin Boyce, Classifieds Manager, ACT Bl Publishing/Technical Group Classifieds

6400 Hollis Street, #12, Emeryville, CA 94608(415) 653-3307, 1-(800)-747-3703, FAX: (415) 653-5142

Please attach your ad copy on a separate sheet, typed double-spaced or printed clearly.

ProductMarketingManagerDigital Video EffectsSONY, an established leader in the Communications products field,has an immediate need for a dynamic broadcast professional todevelop, manage and market our Digital Video Effects products. Theposition would be in Bergen County, New Jersey.

The successful candidate should have a broad knowledge of currentDigital Video Effects products and industry trends. Further, the can-didate will have an understanding of the internal technical workingsof digital effects systems. 5 to 10 years experience in both Broadcastand Post -production is desired. B.S.E.E. or equivalent is preferred.Excellent communication skills are needed. Extensive travel isrequired.

SONY offers a competitive salary and benefits package. Send yourresume with salary requirements to: PM/SONY CORPORATION OFAMERICA, SONY DRIVE, MD 1N40, PARK RIDGE, NEW JERSEY07656.

We are proud to be an EEO/AA employer M/F/H/V. Also, wemaintain a drug free workplace and perform pre -employmentsubstance abuse testing.

SONY

CURRENTSA GUEST EDITORIAL

The Work of Chief Engineers:We Never Close

By Joseph Fedele

Dudley Moore once played a mov-ie character who was banishedto a sulfur mine where he was tobe imprisoned for life as a forcedlaborer. The sign posted at theentrance to the mine read "WeNever Close." I have a sign withthose same words tacked up onthe bulletin board in my office.

Somehow it seems appropriate.Being the chief engineer of a broadcast facility

can sometimes be equated to being the ringmas-ter at a circus. There is peril at every turn, any-thing can happen, and the show must go on. Weare constantly being asked to perform miraculousstunts, but we rarely receive any additional cred-it or reward for our troubles.

Over the past several years, wegreat expansion inthe industry as cableTV and broadcastersfight for their marketshares. But at thesame time, we havealso seen the techni-cal staffs of our sta-tions shrink to thebare minimum. Wehave had our techni-cal budgets slashedand capital purchaseslimited. We are allbeing told that wemust do more withless and that we must"cut the fat." Some-times it seems thatthere is no end insight to these auster-ity measures.

Eventually, the fattrimmers will hitmuscle and thenbone. By the timethey realize this, thedamage will have al-ready been done. Anyphysician will tell

62

have seen a

"Over the past several years,we have seen a great expansion inthe industry . . . . But we have also

seen the technical staffs of ourstations shrink to the bare

minimum."

you that it is unhealthy for a person to loseweight too quickly or too drastically. The samething holds true for reducing a station's technicalresources.

Very often the harmful consequences of exces-sive cutbacks cannot be detected during the nor-mal day-to-day operations of a station when ev-erything is operating smoothly. These cutbackswill hurt you the most when you are in trouble. Aprime example of this is when the transmittergoes off the air and you do not have a pool ofavailable technicians on staff to fix it. At onetime, you may have had several reliable peoplethat could help make these repairs, but the cut-back in staff has left you dry.

The same holds true for your operating budget.Before the cutbacks, you may have had a goodstock of spare parts. As your budget was reduced,

you suddenly had tobecome very selectiveabout the type andquantity of parts youkept on hand. Thenone day, your ACRsstart to fall apart,and you wait for theovernight emergencyshipment of partsthat will get you backon the air.

The bottom line isthat we engineers areexpected to "make itwork," regardless ofcircumstances. I re-gret to say that morestations will probablysuffer from the ex-cesses of the fat trim-mers and we will beleft to pick up thepieces. MI

Fedele is manager oftechnical operations andchief engineer forWCBS-TV, New York.

BRIDONGTIM GAP.

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INTELLIGENCE RUNS IN THE FAMILY

George Spiro Dibieon BTS LDK-90 cameras...

BTS's LDK-90video cameras arereally the topperformers on all of myshoots. They makemulti -camera videoproductions look likefilm. Tube -type camerashave problems withresolution, hot spotsand comet tailing. But thanks to BTS frame -transferCCD chip technology, I light for my video camerasexactly the way I light for film cameras. 9 9

Name: George Spiro Dibie

Profession: Supervising Directorof Multicamera Photography forWarner Brothers Television.

Current Credits:Growing PainsJust The Ten Of Us

Organizations:President, International Photog-raphers Guild, Local 659, Holly-wood; member, Directors Guildof America (DGA); member,Society of Motion Picture andTelevision Engineers (SMPTE).TV Academy, A.S.L.D. andS.O.C.

Awards:Winner of three Emmys.

George Spiro Dibie onProduction Lighting:

"The most important concept isto follow the source. Windows,doors, lamps...these are thesources of light in a scene. I startfrom there. To accommodate onecamera or multi-6meras, youdeal with the feel of the source."

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1-800-962-4BTS.BTS LDK-90 studio cameras...forthe big shots.

BTSThe name behindwhat's ahead. TMBTS is Broadcast Television Systems,a joint company of Bosch and Philips.P.O. Box 30816, Salt Lake City, Utah84130-0816


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